ELEMENTARY  TURNING 


FOR  USE   IN 


MANUAL  TRAINING  CLASSES 


BY 


FRANK    HENRY   SELDEN 


FULLY  ILLUSTRATED 


CHICAGO  —  NEW  YORK 
RAND,  McNALLY  &  CO.,  PUBLISHERS 


Copyright,  1907,  by  Rand,  McNally  &  Co. 


PEEFACE 

HHHE  series  of  exercises  given  in  this  text  is  the 
result  of  the  author's  experience  in  teaching 
turning.  Each  model  has  been  developed  for  the 
purpose  of  teaching  a  correct  use  of  the  tools,  so 
that  pupils  can  do  excellent  work  without  the  long 
drill  to  acquire  skill  or  the  necessity  of  scraping 
where  cutting  tools  should  be  used.  If  turning 
lathes  are  to  be  used  in  the  "school,  they  should  be 
used  properly.  It  is  the  hope  of  the  author  that 
this  manual  will  aid  such  instructors  as  are  trying 
to  teach  a  rational  method  of  turning. 

A  careful  examination  of  the  text  by  one  who 
understands  this  line  of  work  will  reveal  the  fact 
that  the  elementary  principles  are  covered  very 
completely,  and  yet  there  is  not  in  the  regular  set  a 
single  exercise  which  may  be  dispensed  with,  without 
a  real  loss  to  the  average  pupil. 

The  numerous  illustrations  are  not  only  to  make 
clear  a  way  in  which  to  do -the  work,  but  to  furnish 
such  a  variety  of  similar  views  that  the  pupil  will  be 
certain  to  draw  comparisons  and  to  form  an  indi- 
vidual method  of  work. 

Although  a  proper  study  of  this  book  will  result 
in  a  marked  degree  of  proficiency  in  turning,  yet  the 

238839 


6  f      rr  r,,  ELEMENTARY  TURNING 

greater  benefit  will  be  the  training  which  comes  from 
the  constant  and  careful  attention  required  to  do 
this  work.  The  aim  is  not  technique,  but  power  — 
mental  growth. 

Several  of  the  models  were  suggested  by  those 
used  in  other  schools.  The  general  arrangement 
and  method  of  treatment  are  entirely  original  with 
the  author. 

But  few  woods  are  mentioned  in  the  text.  In 
fancy  turning  a  variety  of  woods  should  be  used,  if 
they  can  be  obtained.  The  instructor  should  see 
that  each  pupil  acquires  some  knowledge  of  both 
local  and  foreign  woods. 


ELEMENTARY   TURNING 


PREFACE 


INTRODUCTION 
EQUIPMENT 
REGULATIONS 
LESSON  I. 
LESSON  II. 
LESSON  III. 
LESSON  IV. 
LESSON  V. 
LESSON  VI. 
LESSON  VII. 
LESSON  VIII. 
LESSON  IX. 
LESSON  X. 
LESSON  XI. 
LESSON  XII. 
LESSON  XIII. 
LESSON  XIV. 
LESSON  XV. 
LESSON  XVI. 
LESSON  XVII. 
LESSON  XVIII. 
LESSON  XIX. 
LESSON  XX. 
LESSON  XXI. 
LESSON  XXII. 
LESSON  XXIII. 
LESSON  XXIV. 
LESSON  XXV. 


CONTENTS 


PART  I 


PLACING  WORK  IN  THE  LATHE   - 
CYLINDER      ----- 
STEPPED  CYLINDER    - 
LEFT-HAND  SEMI-BEAD 
RIGHT-HAND  SEMI-BEAD 
HALF-INCH  LEFT-HAND  SEMI-BEAD 
HALF-INCH  RIGHT-HAND  SEMI-BEAD 
ONE-INCH  BEAD 
HALF-INCH  BEAD        - 
THREE-EIGHTHS-INCH  BEAD 
ONE-INCH  COVE 
THREE-FOURTHS-INCH  dovE 
HALF-INCH  COVE 
THREE-EIGHTHS-INCH  COVE 
ONE-INCH  BEAD  AND  COVE 
HALF-INCH  BEAD  AND  COVE 
SPINDLE  WITH  CONES 
SANDPAPERING       - 
SHELLACING       - 
BEADED  SPINDLE 
POLISHING          - 
SQUARE-END  SPINDLE 
CURVED  SPINDLE       - 
TAPERED  SPINDLE 
PORCH  SPINDLE          ........ 


PAGE 

5 


11 

14 
15 
19 
25 
32 
35 
37 
41 
44 
43 
47 
49 
50 
55 
57 
58 
58 
61 
62 
65 
67 
69 
71 
75 
81 
82 
84 


8 


ELEMENTARY   TURNING 


LESSON  XXVI. 
LESSON  XXVII. 
LESSON  XXVIII. 
LESSON  XXIX. 
LESSON  XXX. 


PLAIN  Box 
Box  WITH  KNOB 
PLAIN  GOBLET 
GOBLET  WITH  RINGS 
ROSETTE 


92 

93 

97 

101 


PART  II 

SUPPLEMENTARY    EXERCISES 

INTRODUCTION        -  105 

No.  I.  TOOL  HANDLE  _____  105 

No.  II.  GAVEL  -  109 

No.  III.  GAVEL  PATTERNS      -        -        -        -        -  112 

No.  IV.  CARPENTER'S  MALLET    -  113 

No.  V.  CARVER'S  MALLET    -  115 

No.  VI.  MOLDER'S  RAMMER        -  116 

No.  VII.  DARNING  BALL  AND  DARNING  HEMISPHERE  117 

No.  VIII.  GLOVE  MENDER        -  118 

No.  IX.  PLAIN  RING      - 119 

No.  X.  NAPKIN  RING,  FIRST  METHOD        -        -  121 

No.  XI.  NAPKIN  RING,  SECOND  METHOD         -        -  124 

No.  XII.  VISE  HANDLE        --.--_  125 

No.  XIII.  WOODEN  SCREWS      -  127 

No.  XIV.  LARGE  Box  ------  129 

No.  XV.  Box  DESIGNS  132 

No.  XVI.  CANDLESTICKS       -----  133 

No.  XVII.  DESIGNS  FOR  CANDLESTICKS      -  133 

No.  XVIII.  HAT  RESTS   -----  137 

No.  XIX.  COMBINING  OF  WOODS       -  141 

No.  XX.  DESIGNS  FOR  GOBLETS  -        -        -        -  143 

No.  XXI.  KNIFE  AND  FORK  REST     -        -        -        -  144 

No.  XXII.  PIN  TRAY 145 

No.  XXIII.  TURNED  FRAMES 147 

No.  XXIV.  CHAIR  LEGS  ------  1:3 

No.  XXV.  CHAIR  RUNGS  AND  SPINDLES      -        -        -  1  "6 

No.  XXVI.  FOOTSTOOL  LEG     -        -        -        -        -  1.17 

No.  XXVII.  DESIGNS  FOR  FOOTSTOOL  LEGS          -        -  158 


ELEMENTARY   TURNING  9 

PAGE 

No.  XXVIII.       FOOTSTOOL 160 

No.  XXIX.          PIANO  STOOL 161 

No.  XXX.  TURNED  STOOL 

No.  XXXT.          GROUP  OF  FANCY  TURNINGS      -        -        -  163 

No.  XXXII.         TURNED  MOLDING          -        -        -  163 


PART   III 

TOOLS   AND  FITTINGS 

INTRODUCTION  16' 

ARBORS       - 

CALIPERS 

CHISELS I70 

CHUCKS I72 

SCREW  CHUCK,  SEE  CHUCKS       "- I73 

SPUR  CHUCK,  SEE  CHUCKS I77 

COMPASSES          -•-.'-        -        -        -        ~        "        "        *7^ 
DEAD-CENTER          -        -        -        --        ~        ~        ~  I7" 

FACE-PLATE        ---------        179 

GAUGES 179 

GOUGES      

LATHES  ---        

OILSTONES  --------- 

PARTING  TOOL         --------  187 

SCRAPING  TOOLS          -------- 

RING  TOOLS,  SEE  SCRAPING  TOOLS 

LIVE-CENTER,  SEE  SPUR  CENTER          - 

SIZING  TOOL "       • 

SPUR  CENTER  -------- 

TEMPLET          ---------  191 


ELEMENTARY    TURNING 
PART  I 

INTRODUCTION 

This  course  in  turning  is  intended  to  give  ele- 
mentary exercises  only.  Each  model  in  Part  I  is 
given  with  a  definite  purpose  and  should  not  be 
omitted.  There  will  be  little  need  for  class  demon- 
stration. Each  pupil  should  have  a  book  at  his 
bench,  and  should  take  it  home  with  him  often 
enough  to  gain  in  advance  a  definite  idea  of  each 
day's  lesson. 

Each  piece  should  be  turned  with  care  and  in  the 
order  given,  and  the  exercise  should  not  be  repeated. 
No  matter  what  the  plans  of  the  pupils  may  be, 
much  time  will  be  saved  by  making  each  of  the 
twenty  models  before  attempting  any  fancy  turning. 
If  the  first  eight  or  sixteen  pieces  have  been  made, 
and  the  work  is  very  poor,  it  is  better  to  return  to 
the  first  piece  and  begin  again.  Thus  continuing  the 
study  of  principles,  rather  than  acquiring  skill  to  do 
the  work  by  mere  repetition. 

Always  keep  in  mind  that  turning  cannot  be 
done  with  dull  tools.  Do  not  resort  to  scraping  the 
pieces  where  they  should  be  turned.  Do  not  use 
any  sandpaper  until  the  fifteenth  exercise,  and  then 


12  ELEMENTARY   TURNING 

use  only  No.  J.  Although  this  set  may  appear  to 
consist  of  too  large  a  number  of  pieces,  a  proper  use 
of  them  will  demonstrate  that  they  are  a  much 
shorter  and  quicker  road  to  successful  turning  than 
the  less  numerous  exercises  given  by  others. 

The  methods  of  using  tools  in  turning  on  modern 
lathes  and  with  modern  tools  vary  somewhat  from 
the  methods  used  when  lathes  were  more  cumber- 
some and  tools  not  so  easily  obtained.  In  the  school 
shop  such  tools  and  methods  should  be  employed  as 
will  tend  most  to  an  active  mental  direction  of  the 
process,  and  give  as  little  occasion  as  possible  for 
the  acquiring  of  skill. 

The  work  must  be  carried  on  in  such  a  manner 
that  there  is  a  continuous  increase  in  power  of  atten- 
tion and  ability  to  do  a  given  amount  of  work  in  a 
definite  period  of  time.  The  pupil  must  learn  to 
keep  up  with  the  lathe,  and  this  by  developing  power 
to  think  more  quickly  and  accurately,  rather  than  by 
acquiring  skill.  If  the  work  is  planned  to  develop 
skill,  the  result  will  be  injurious  rather  than  helpful. 

The  material  for  the  first  exercises  should  be  of 
pine,  because  it  is  easy  to  work,  when  the  tools  are 
used  properly;  and  because  any  attempt  to  scrape 
the  piece  to  shape  is  easily  detected. 

One  of  the  first  things  to  decide  in  learning  to 
use  the  lathe  is  whether  one  shall  turn  right-handed 
or  left-handed.  Either  way  is  easily  learned, 
whether  one  is  right-handed  or  not.  But,  when  the 


ELEMENTARY   TURNING  13 

decision  is  once  made,  do  not  change.  The  right- 
hand  position  is  probably  the  better  for  a  large  pro- 
portion of  work,  although  the  left-hand  position 
seems  to  be  easier  in  some  of  the  first  exercises. 

As  a  large  part  of  the  time  is  necessarily  taken  up 
in  learning  the  use  of  the  tools,  you  will  have  but 
little  time  for  fancy  turning,  unless  you  are  very 
careful  to  learn  the  correct  use  of  your  tools.  You 
should  be  especially  careful  in  turning  the  first 
pieces,  for  the  more  nearly  correct  you  use  your 
tools  in  the  beginning,  the  more  rapid  will  be  the 
progress  and  the  better  will  be  your  work. 

The  first  exercises  are  so  designed  that,  if  prop- 
erly used,  they  will  readily  give  a  freedom  and 
certainty  which  is  not  the  result  of  skill,  but  of  an 
exact  understanding  of  the  process.  After  this 
knowledge  has  been  acquired,  a  great  variety  of 
articles  may  be  made  in  a  short  space  of  time. 

If  you  learn  the  correct  use  of  each  turning  tool, 
you  will  be  able  to  turn  fancy  articles  of  knotty,  hard, 
or  cross-grained  wood.  Such  wood  is  often  much 
more  beautiful  than  that  which  is  plain  and  straight- 
grained.  This  ability  to  use  the  tools  will  not  be 
lost,  even  though  you  do  no  turning  for  a  .consid- 
erable length  of  time. 


14  ELEMENTARY  TURNING 

EQUIPMENT 
PERSONAL  EQUIPMENT 

Each  pupil  must  provide  himself  with  a  pocket- 
rule,  two-foot,  four-fold;  a  lead  pencil,  one  com- 
bination, India  oilstone,  one  hard  Arkansas  oilstone 
slip. 

The  apron  used  in  joinery  may  be  used.  A 
jumper  should  also  be  worn. 

SCHOOL  EQUIPMENT 

Each  drawer  is  provided  with  three  skew  chisels 
(1-inch,  J-inch,  and  l-iuch),  three  turning  gouges 
(J-inch,  f-inch,  and  J-inch),  a  J-inch  round  nosed 
scraping  tool,  a  1-inch  firmer  gouge  for  roughing 
and  a  J-inch  parting  tool.  Gouges  for  heavy  work, 
and  special  tools  for  rings,  etc.,  are  provided  in  the 
tool  room. 

STOCK 

In  both  Part  I  and  Part  II  the  stock  used  in 
every  case,  where  allowable,  is  of  the  same  size. 
This  avoids  much  waste  time,  which  would  occur  if 
a  variety  of  sizes  were  used.  Stock  8  inches  long  by 
If  inches  square  appears  to  be  the  best  size  for  exer- 
cise pieces  and  also  for  small  footstool  legs. 

Goblets,  napkin  rings,  and  similar  objects  may  be 
made  from  the  short  pieces  resulting  from  the  cut- 
ting of  regular  stock.  Chair  legs,  large  footstool 
legs,  candlestick  stems,  etc.,  should  be  selected 
from  the  better  portion  of  the  If -inch  stock. 


ELEMENTARY   TURNING  15 

REGULATIONS 

In  the  lathe  room,  while  the  lathes  are  in  motion, 
there  is  always  a  probability  that  work  will  be 
injured  if  from  any  cause  a  pupil  looks  up  while  his 
tools  are  cutting.  It  is,  therefore,  a  matter  of  much 
importance  that  pupils  should  refrain  from  all  con- 
versation, and  from  moving  about  the  room.  Care 
should  also  be  taken  to  avoid  any  unusual  noise  in 
turning,  or  in  starting  or  stopping  the  lathe. 

No  pupil  should  ever  borrow  or  lend  any  tool  or 
piece  of  material.  Every  piece  of  material,  including 
sandpaper,  should  be  plainly  marked  with  the  pupil's 
name.  When  the  work  is  completed,  the  name  of 
the  pupil  and  the  date  of  completion  should  be 
plainly  written  upon  it.  The  work  should  be  kept 
in  the  bench  drawer  until  completed. 

The  lathe  should  be  watcheS,  and  any  indication 
of  its  being  out  of  order  should  at  once  be  reported. 
A  drop  of  oil  should  be  placed  on  each  bearing  of  the 
live  spindle  at  the  beginning  of  each  recitation. 
The  end  of  the  piece  bearing  against  the  dead-center 
should  be  oiled  when  the  piece  is  first  placed  in 
the  lathe,  and  each  succeeding  day  that  the  same 
piece  is  used.  The  dead-center  should  be  carefully 
watched,  and,  if  it  becomes  too  warm,  the  tail-screw 
should  be  turned  to  loosen  the  work,  or  more  oil  be 
applied.  In  case  any  tool  or  bit  of  material  has  been 


16  ELEMENTARY   TURNING 

tampered  with  during  the  absence  of  the  pupil,  it- 
should  be  reported  to  the  instructor  at  once. 

At  the  close  of  the  recitation  the  tools  must  be 
put  in  place.  Tools  which  require  grinding  may  be 
handed  to  the  instructor.  Each  pupil  must  brush 
all  shavings  and  dirt  from  his  lathe;  and  when 
cleaning  the  lathe  care  must  be  taken  that  no  dirt  is 
thrown  on  adjoining  lathes.  The  lavatories  are 
for  use,  and  every  pupil  should  wash  his  hands  and 
brush  his  clothes  before  going  to  another  recitation. 

At  the  close  of  the  year  each  pupil  may  remove 
the  work  he  has  completed  by  paying  for  the  mater- 
ials used,  except  such  pieces  as  are  needed  in  the 
school  for  exhibition. 

For  each  exercise  a  sufficient  amount  of  material 
will  be  given  each  pupil.  This  material  will  be 
sufficient  to  complete  the  exercise  properly,  and  only 
in  very  extreme  cases  shall  more  material  be  given. 
The  first  piece  given  must  be  finished  as  well  as 
possible,  even  though  very  incorrect  or  under  size. 
Sandpaper  should  not  be  used  on  any  exercise  until 
that  exercise  has  been  passed  upon  by  the  instructor. 

THE  ILLUSTRATIONS 

The  illustrations  for  this  book  represent  the 
actual  conditions  and  work  of  a  school  room  where 
pupils  succeed  in  learning  to  use  their  turning  tools, 
as  they  are  used  by  good  workmen  in  practical 


ELEMENTARY   TURNING  17 

turning.  A  large  number  of  pupils  were  asked  to 
pose  for  the  views,  in  order  to  eliminate  as  much  as 
possible  the  peculiarities  of  any  one  pupil,  and 
illustrate  general  principles,  applicable  to  all. 

In  studying  the  illustrations,  do  not  attempt  to 
imitate  them,  but  rather  follow  the  principles  given, 
adapting  them  to  your  own  strength  and  tempera- 
ment. All  important  positions  are  shown  from 
different  sides  and  by  different  pupils.  Examine 
all  illustrations  relating  to  the  exercise  before 
attempting  to  do  any  turning.  This  will  lessen  any 
liability  to  misunderstand  the  illustrations. 

If  you  have  already  formed  habits  in  the  use  of 
turning  tools,  do  not  continue  them  if  there  is  a 
better  method.  Often  there  are  several  ways  which 
are  correct,  but  this  does  not  imply  that  any  method 
will  answer.  Learn  the  best  way,  as  it  will  save  you 
much  time  and  trouble. 

In  many  of  the  illustrations  a  part  of  the  lathe 
centers  are  shown.  This  is  to  indicate  the  position 
of  the  piece  in  the  lathe.  It  is  a  matter  of  consid- 
erable importance  which  end  of  a  piece  is  on  the  live- 
center,  and  whether  there  is  a  stub  at  either  end  to  be 
cut  off  after  the  work  has  been  removed  from  the 
lathe. 


ELEMENTARY   TURNING 


19 


LESSON  I 
PLACING   WORK  Ift  THE   LATHE 

There   are    several   good    methods    of    centering 
pieces  which  are   to  be   placed  between  the  lathe 
centers.     A  method  seldom  used  is  to  draw  diagonals 
across  the  end,  as 
shown  in  Fig.  2, 
and  also  in  Figs. 
230  and  259. 

If  a  common 
marking  gauge  is 
at  hand,  it  may  be 
set  for  a  space  a 
little  less  than 
half  the  width  or 

thickness    of    the      Fig'  ®'     Findin9  the  Center  by  Drawing 

Diagonals. 
piece,  and    four 

lines  drawn,  making  a  small  rectangle  or  square  at 
the  center. 

Another  method  is  to  draw  four  lines  on  the  end 
with  the  compasses,  as  shown  in  Fig.  3.  This  is  a 
very  good  way  to  do,  and  it  is  used  by  many  turners. 
Care  must  be  taken  to  have  the  end  of  one  leg  of  the 
compasses  against  the  bench,  as  the  other  leg  draws 
the  line.  Hold  the  compasses  so  that  one  leg  will 
be  exactly  above  the  other  leg. 


20 


ELEMENTARY    TURNING 


Fig.  3.     Using  the  Compasses  to  Find 
the  Center. 


Perhaps  the  best  way  in  which  to  find  the  center 
is  to  lay  a  piece  on  the  bench,  and  draw  lines  by 
moving  a  pencil 
along  the  top  edge 
of  the  strip  and 
against  the  piece  to 
be  centered,  as 
shown  in  Fig.  4. 
The  rule  may  be 
used  |for  this  pur- 
pose. It  sometimes 
happens  that  the 
cleat  on  the  bench-hook  is  just  the  correct  thickness 
for  use  in  centering. 

After    the    piece    has    been    properly    centered, 
place  one  end  against  the  live-center,  the  left  hand 

holding  the 
end  nearest 
to  the  dead- 
center  (Fig. 
5).  Then 
grasp 
the  hand 
wheel,  and 
turn  the 
screw  in 
the  tail- 
stock  until  both  centers  have  been  forced  into  the 
piece  sufficiently  to  hold  it  securely,  while  it  revolves 


Fig.  4.     Finding  the  Center  with  Pencil  and  Strip. 


ELEMENTARY   TURNING 


21 


against  the  tools  (Fig.  6).      Next  loosen  the  tail- 
screw  so   that  you   can    put   a   little    oil   into    the 
depression 
made  by  the 
dead-center 
(Fig.  7).  The 
oiling  must 
not  be  done 
while   the 
lathe  is  in     _ 

Fig.  5.   Placing  a  Piece  Between  the  Lathe  Centers. 


motion. 


Fig.  6.     Tightening  the  Tail-screw 

Fig.  10,  and  revolving 
the  live-center  while 
adjusting  the  tail- 
screw, the  proper  ten- 
sion can  be  deter- 
mined. After  the 
dead-center  has  been 
adjusted,  turn  the 
clamp  screw  handle, 


Retighten  the 
tail-screw,  making 
it  as  tight  as  it  can 
be,  and  allow  the 
spindle  to  revolve 
freely.  By  placing 
the  hand  on  the 
cone  pulley,  as  in 


Fig.  7.     Oiling  the  Dead-center, 


22 


ELEMENTARY  TURNING 


H,  Fig.  8,  until  it  is  tight.    -This  is  to  hinder  the 
dead-center  from  moving  away  from  the  work. 

Do  not  use  a  mallet 
to  drive  the  piece  on  to 
the  live-center,  for  it  is 
quite  as  essential  that 
the  dead-center  form  a 
good  bearing,  as  that 


Fig.  8.   Tightening  tJfe  Clamp  Screw. 


the  live-center  be  forced 
into  the  piece. 
Revolve  the  piece  until  a  line  through  the  two 
opposite    corners    will    be   horizontal.     Loosen    the 
set  screw,  A,  Fig.  9,  and  adjust  the  tee  rest  until  the 


Fig.  9.     Setting  the  Tee  Rest. 

top  is  on  a  level  with  this  line.  Use  the  rest  at  the 
same  height  for  all  turning  similar  to  the  twenty 
exercises.  Very  tall  pupils  may  use  the  rest  a  little 
above  the  center,  and  very  short  pupils  may  use  the 


ELEMENTARY  TURNING  23 

rest  a  little  below  the  center.  Each  one  should 
determine  at  the  beginning  the  proper  height,  and 
not  change  it  for  any  of  the  twenty  exercises.  It 
should  remain  at  the  same  height  for  both  skew 
chisel  and  gouge  turning. 

The  rest  should  be  as  close  to  the  wood  as  will 
allow  the  piece  to  revolve.  ,  After  you  have  become 
familiar  with  the  use  of  the  tools,  the  rest  need  not 
be  moved  up  to  the  piece  after  it  has  been  turned  to 
a  cylindrical  form;  but  in  turning  the  first  exercises, 
it  will  probably  be  better  to  move  the  rest  close  up  to 
the  piece,  as  soon  as  it  has  been  made  cylindrical. 
Sometimes  the  ends  will  remain  square,  and  you  will 
be  obliged  to  turn  while  the  rest  is  at  some  distance 
from  the  part  you  are  cutting. 

In  advanced  turning  the  rest  will  need  to  be 
adjusted  to  a  variety  of  positions;  and  in  some  cases 
the  height  will  have  to  be  changed,  but  for  all  ordi- 
nary turning  the  rest  should  be  kept  at  the  same 
height. 

Before  placing  any  piece  of  wood  in  the  lathe  it 
should  be  carefully  examined.  Small  defects,  such 
as  worm  holes  and  sap,  need  not  be  considered  in  the 
first  exercises.  Small  knots  are  usually  not  difficult 
to  work  in  the  lathe,  and  pieces  containing  them 
should  not  be  discarded.  Wain  at  corners  does  no 
harm,  if  it  is  not  so  large  that  the  blank  will  not  form 
a  cylinder  the  full  size  of  the  piece. 


24  ELEMENTARY  TURNING 

The  one  defect  that  must  be  carefully  watched  is 
shake.  Sometimes  pieces,  which  at  a  glance  appear 
all  right,  on  close  inspection  will  be  found  to  contain 
latent  checks  which  render  them  unfit  for  turning. 
These  seams  or  shakes  sometimes  allow  the  piece  to 
separate  as  it  revolves,  spoiling  the  exercise,  and 
wasting  time.  Usually,  the  best  end  of  the  blank 
should  be  placed  on  the  live-center,  as  this  center 
tends  to  split  the  wood. 

Before  removing  the  piece  from  the  lathe,  make 
a  pencil  mark,  as  shown  in  Figs.  9  and  10,  on  the 
end  to  correspond  with  the  mark  on  the  live-center, 
so  that  after  the  piece  has  been  removed  from  the 
lathe,  it  can  be  replaced  exactly  in  the  same  position. 

Before  starting  the  lathe,  examine  the  belt  to 
see  on  which  step  of  the  cone  pulley  it  is  running. 
For  these  exercises  it  should  be  on  a  step  that  will 
give  about  3,500  revolutions  per  minute.  Larger 
work  should  not  be  revolved  so  rapidly.  If  the 
piece  is  of  an  irregular  shape,  it  should  not  be 
revolved  at  so  great  a  speed  until  it  has  been  turned 
down  to  a  cylindrical  form. 

CAUTION 

If  you  wish  to  stop  the  lathe,  do  not  do  so  by 
grasping  the  work,  but  place  your  hand  on  the  cone 
pulley,  after  the  belt  has  been  shifted  to  the  loose 
pulley.  If,  for  any  reason,  you  wish  to  touch  the 
work  while  it  is  revolving,  bend  your  finger,  as  is 


ELEMENTARY  TURNING 


25 


shown  in  Fig.  10,  and  allow  only  the  end  of  your 

finger    to    touch    the     ^___ 

piece.  To  grasp  the 
piece,  even  though  it 
may  be  quite  smooth, 
is  not  the  proper 
thing  to  do.  Do  not 

attempt   to    touch    it     Fig.10.    Stopping  the  Lathe  and  Test- 
on    either   the  upper        ing  the  Surf  ace. 
or  the  lower  side,  but  always  use  the  end  of  one 
finger  against  the  back  side. 


LESSON  II 
CYLINDER 

The  stock  for  this  and  the  nineteen  following 
exercises  should  be  8  inches  long  by  If  inches  square. 
This  exercise  is  to  teach  the  use  of  the  roughing 


Fig.  11.     The  Cylinder. 

gouge,  and  some  of  the  uses  of  the  skew  chisel.  Be 
sure  to  have  in  mind  what  is  said  in  Lesson  1  about 
putting  the  work  in  the  lathe  and  adjusting  the  rest, 


26 


ELEMENTARY  TURNING 


etc.  After  you  are  certain  that  everything  is  all  right, 
slowly  shift  the  belt  so  that  the  piece  will  revolve. 
Fig.  184  shows  the  left  hand  grasping  the  belt  shifter. 

Take  the  posi 
tion  shown  in 
Fig.  12,  with  the 
hands  and 
roughing  gouge 
held  as  in 
Fig.  13  or  14. 
Whether  the 
position  taken 
is  similar  to  that 
in  Fig.  13  or  14 
is  not  important, 
In  the  latter,  the 
hand  is  turned 
to  hinder  the 
shavings  from 
striking  the  face. 
By  comparing 
Figs.  20,  41,  44, 
47, 53,  etc., it  will 
be  observed  that 
the  fingers  of 
the  left  hand  are 
used  in  a  variety 
of  positions. 

This    is    because  Fig.  12.  Position  While  Using  a  Roughing  Gouge. 


ELEMENTARY  TURNING 


27 


the  jar  of  the  lathe  tends  to  numb  and  tire  them  if 
they  are  used  long  in  exactly  the  same  position. 

The  points  to  be  kept  in  mind  are :  First,  the  tools 
must  be  firmly  held;  second,  some  part  of  the  hand 
or  fingers  should  come  in  contact  with  the  rest; 
third,  the  angle  should  be  such  that  the  tools  will 
cut  rather  than  scrape;  fourth,  the  tool  should  be 
firmly  held 
upon  the  tee 
rest,  and  also 
upon  the 
piece  which 
is  being 
turned;  fifth, 
the  angle 
which  the 
tool  makes 
with  the  line 
of  the  cent- 
ers is  very 
important, 

and  must  be  carefully  determined  for  each  tool  and 
each  piece  of  work. 

By  comparing  Figs.  13  and  14  you  will  see  that 
the  roughing  gouge  is  held  at  right  angles  to  the  cen- 
ters, and  at  as  oblique  an  angle  vertically  as  will 
allow  the  cutting  edge  to  enter  the  wood.  Be  sure 
that  your  gouge  is  sharp.  Read  carefully  what  is 
said  in  Part  III  in  regard  to  sharpening  gouges. 


Fig.  13.     Using  Roughing  Gouge. 


28 


ELEMENTARY  TURNING 


Do  not  attempt  to  cut  the  piece  rapidly,  but 
rather  see  how  fine  and  how  even  you  can  cut  the 
shavings.  Move  the  gouge  the  entire  length  of  the 
piece.  If  the  piece  were  longer,  you  would  turn 


Fig.  14.     Hand  Shielding  Shavings  from  the  Face. 

down  a  place  at  one  end,  and  then  little  by  little  work 
towards  the  other  end,  finishing  a  small  part  of  the 
surface  each  time  you  move  the  gouge  from  left  to 
right,  as  in  turning  the  table  leg  (Fig.  237). 


ELEMENTARY  TURNING  29 

After  you  have  cut  off  a  little  of  the  piece,  stop 
the  lathe,  as  shown  in  Fig.  10,  and  examine  the  work 
to  see  how  much  has  been  cut  away,  and  whether  the 
gouge  is  cutting  smoothly  or  tearing  the  surface. 
Study  the  positions  of  the  tools  in  Figs.  12,  13,  14, 
100,  and  113. 

If  the  roughing  gouge  is  held  properly,  it  will  cut 
quite  smoothly,  as  the  shape  of  the  end  of  the  gouge 
is  such  that  a  shaving  is  cut.  Should  you  use  a 
turning  gouge  for  roughing,  you  would  discover  that 
it  does  not  cut  as  freely  nor  as  rapidly,  and,  hence, 
the  common  firmer  gouge  is  used  in  turning  as  a 
roughing  gouge;  or  else  a  turning  gouge  is  ground 
like  a  firmer  gouge. 

In  days  gone  by,  when  tools  were  more  expensive 
and  labor  cheaper,  the  turner  used  as  few  tools  as 
possible,  and  therefore  used  his  large  turning  gouge 
for  roughing.  At  present  such  a  use  of  the  turning 
gouge  must  be  considered  very  much  out  of  place. 
Should  the  wood  to  be  turned  be  so  rough  or  knotty 
that  the  light  gouge  might  be  broken,  it  would  be 
proper  to  use  the  heavy  turning  gouge. 

In  roughing  the  edges  of  pieces  on  the  face- 
plate, as  shown  in  Figs.  124  and  125,  the  turning 
gouge  is  always  used.  Continue  using  the  gouge 
until  the  piece  is  cylindrical  the  entire  length.  The 
gouge  will  not  produce  a  straight  finished  surface 
no  matter  how  carefully  used.  To  give  the  work  the 
even,  glossy  surface,  a  turner's  skew  chisel  is  required. 


30 


ELEMENTARY  TURNING 


For  smoothing  work  of  this  "size,  a  1-inch  skew 
chisel  may  be  used.     It  should  be  held  as  shown  in 

Fig.  15,  16,  or 
17.  Each  of 
these  views 
shows  the  skew 
chisel  held  at 
a  slightly  dif- 
ferent angle. 
Also  see  Figs. 
27  and  29. 

When  the 
skew  chisel  is 
held  as  shown 
in  Fig.  16  or  17,  the  point  is  not  as  liable  to  catch 
and  injure  the  work,  but  it  will  not  cut  so  smoothly, 
and  will  dull  much  more  rapidly,  especially  if  the 

piece  is  crogs-grained. 
Begin  by  holding  it  so 
that  the  cutting  edge  is 


Fig.  15.    Smoothing  a  Cylinder 
(See  Figs  16  and  17}. 


Fig.  16. 
Using  a 
Skew 
Chisel. 


Fig.  17.     Using  a  Skew  Chisel  (See  Figs.  15  and  16). 


ELEMENTARY  TURNING  31 

at  quite  an  angle  to  the  center  line  of  the  piece 
(Fig.  16  or  17),  and  gradually  change  the  position 
at  which  you  hold  it,  until  the  cutting  edge  is  nearly 
parallel  to  the  center  line  (Fig.  15). 

Observe  carefully  that  the  skew  chisel  is  held  as 
shown  in  Fig.  16  while  cutting  toward  the  left,  and 
as  shown  in  Fig.  15  or  17  while  cutting  toward  the 
right.  It  is  'very  important  that  you  change  the 
position  of  the  chisel  in  this  manner,  for  it  not  only 
rests  upon  the  tee  rest,  but  also  upon  the  piece  be- 
ing turned;  and  if  you  attempt  to  cut  at  the  end  of  the 
piece  with  the  chisel,  unsupported  by  the  wood,  it 
will  be  quite  sure  to  go  deeper  than  you  'wish,  and 
may  spoil  the  piece. 

Try  to  make  the  surface  of  the  cylinder  smooth, 
practicing  near  the  right-hand  end.  Then  smooth  a 
space  about  1J  inches  long  at  the  left-hand  end.  As 
this  is  your  first  piece,  you  will  probably  not  be  able 
to  make  the  piece  smooth  and  straight  its  entire 
length,  but  you  should  make  it  quite  smooth  near 
the  left-hand  end.  Do  not  attempt  to  smooth  the 
ends  of  this, -or  any  other  piece  used  for  the  first 
twenty  exercises.  On  pieces  of  this  character  the 
ends  are  not  usually  smoothed;  and  if  they  were  to 
be  smoothed,  the  operation  would  be  found  to  be 
quite  difficult.  Remember  that  none  of  the  first 
sixteen  exercise  pieces  are  to  be  sandpapered. 


32  ELEMENTARY  TURNING 

LESSON  III 
STEPPED  CYLINDER 

Use  the  piece  worked  to  a  cylinder  in  Lesson  2. 
Set  the  rest  close  to  the  piece,  and  with  the  rule  and 


Fig.  18.    Stepped  Cylinder. 

pencil,  as  ^shown  in  Fig.  19,  make  a  mark,  while  the 
lathe  is  in  motion,  one  inch  from  the  left-hand  end. 
With  the  acute  point  of  the  skew  chisel  cut  a  small 
groove  at  the  place  marked  by  the  pencil.  Hold 
the  skew  chisel  as  shown  in  Fig.  39. 


Fig.  19.     Marking  Spaces  with  a  Pencil. 

These  inch  spaces  may.be  marked  by  using  the 
chisel,  as  shown  in  Fig.  31,  instead  of  the  pencil. 


ELEMENTARY  TURNING  33 

The  pencil  is  better  and  easier  at  first.  After  you 
have  become  more  familiar  with  the  lathe  and  tools, 
you  can  use  other  methods  for  marking  spaces. 

After  you  have  made  a  mark  and  cut  a  groove 
with  the  skew  chisel, remove  about  TV  inch  in  thickness 
of  material  from  the  right-hand  end  of  the  piece  up 
to  the  mark.  Do  not  attempt  to  turn  off  this  waste 
with  the  skew  chisel,  but  use  the  roughing  gouge, 
holding  it  as 
shown  in  Fig. 
13,  until  it 
is  near  the 
groove;  then 
roll  the  gouge 
so  that  t  he 
corner  will  cut 
close  to  the 
shoulder,  as 
shown  in  Fig. 
20. 

Fiq.  20.     Rollinq  the  Rouqhinq  Gouqe. 

After  the 

roughing  gouge  has  been  used,  hold  the  skew  chisel 
as  shown  in  Fig.  15, 16,  or  17,  and  smooth  the  smaller 
part  of  the  cylinder  in  the  same  manner  as  described 
in  Lesson  2  for  making  a  cylinder. 

In  order  to  true  the  surface  close  up  to  the 
shoulder,  the  handle  of  the  skew  chisel  should  be 
lowered  until  the  obtuse  corner  of  the  cutting  edge 
completes  the  cut  (Fig.  21).  The  tendency  is  to 


34 


ELEMENTARY  TURNING 


roll  the  handle  instead  of  lowering  it.  This  should 
not  be  done  for  it  is  quite  certain  to  cause  the  corner 
to  cut  too  deeply.  Should  you  wish  to  smooth  the 
surface  to  the  right  hand,  do  not  forget  to  change 
the  skew  chisel  to  the  position  shown  in  Fig.  15. 
While  smoothing  towards  the  left  hand  of  each  part, 
hold  the  chisel  as  shown  in  Fig.  16.  Continue  mark- 
ing off  inch  spaces  and 
cutting  steps,  until  the 
piece  has  the  shape 
shown  in  Fig.  18. 

It  is  not  so  essential 
that  each  step  be  exact- 
ly -^Q  inch,  as  that  the 
surface  between  the 
steps  be  exactly  straight 
and  smooth.  Should 
you  be  obliged  to  make 
the  large  ends  less  than 
If  inches  in  diameter, 
Fig. 21.  SmoothingUptoaShouMer.  the  steps  may  be  only 
gV  inch.  Be  careful  to  cut  no  deeper  with  the  point 
of  the  skew  chisel  than  the  amount  of  the  step,  for 
any  mark  at  this  place  left  in  the  finished  piece 
shows  badly. 

Before  presenting  the  piece  for  inspection,  write 
your  name  and  the  date  on  the  surface,  near  the  large 
end.  Do  not  forget  to  mark  the  end  so  that  it  can 
be  replaced  in  the  same  position  on  the  live-center. 


ELEMENTARY  TURNING  35 

LESSON  IV 
LEFT-HAND  SEMI-BEAD 

This  exercise  is  turned  in  the  same  way  as  the 
stepped  cylinder,  and  then  the  curves  are  cut  to  the 
shape  shown  in  Fig.  22.  To  work  these  curves,  the 
skew  chisel  is  laid  on  the  piece  the  same  as  in  smooth- 
ing a  cylinder  (Fig.  16).  The  right  hand  is  then 
raised  in  a  curve  so  that  the  chisel  cuts  a  little  nearer 
the  obtuse  angle  as  it  approaches  the  inner  end  of 


Fig.  22.     Left-hand  Semi-bead. 

the  curve  (Fig.  23).  As  the  movement  is  finished, 
the  chisel  cuts  at  the  extreme  obtuse  corner,  and 
instead  of  a  shaving  being  cut,  a  small  ring  is 
formed,  which  breaks  in  _two  as  it  is  crowded  against 
the  square  end  of  the  adjoining  semi-bead. 

Do  not  attempt  to  cut  thick  shavings,  but  pro- 
portion the  material  so  that  each  shaving  will  be  of 
sufficient  size  to  cut  easily.  Try  to  take  the  last 
shaving  from  the  whole  surface  being  shaped. 

There  is  always  danger  of  resting  the  skew  chisel 
on  the  work  so  heavily  that  it  will  follow  the  grain 
of  the  wood,  and  tke  pieee  be  turned  out  of  round. 


36  ELEMENTARY  TURNING 

In  case  the  skew  chisel  is  jarred  by  the  revolving  of 
the  piece,  bear  more  firmly  upon  the  rest.  Some- 
times this  jarring  is  stopped  by  holding  the  chisel 
more  nearly  straight  with  the  work.  Compare 
Fig.  15  with  Figs.  16  and  17. 

When  the  piece  is  cross-grained,  the  skew  chisel 
must  be  held  nearly  straight,  as  shown  in  Fig.  15. 


Fig.  23.     Turning  a  Curve. 

If  your  tools  are  properly  sharpened  and  correctly 
used,  the  work  will  be  quite  smooth,  even  though 
the  piece  is  cross-grained. 

It  is  not  so  much  practice  to  gain  skill,  as  it  is  a 
careful  study  to  gain  a  correct  knowledge  of  the 
proper  methods  of  using  the  tools  that  will  give 
success  in  this  work. 

If  the  chisel  catches,  do  not  think  that  it  is 
because  of  the  grain  of  the  wood  or  because  the 
chisel  is  not  held  with  sufficient  force,  for  it  is  quite 


ELEMENTARY  TURNING 


37 


probable  that  the  cause  of  the  trouble  is  the  angle 
at  which  the  chisel  has  been  held,  or  you  have  been 
cutting  too  near  the  point. 

It  is  not  a  difficult  matter  to  turn  these  curves 
by  holding  the 
chisel  with  only 
the  right  hand, 
as  shown  in 
Fig.  24;  there- 
fore, study  and 
use  the  correct 
movements. 
This  figure 
shows  the 
chisel  in  the 
extreme  position. 


•     Turning  with  One  Hand. 
Usually  the  handle  would  not  be 


raised  so  high,  or  the  hand  moved  so  far  to  the  right. 
Notice  that  the   top  of  the  rest  remains  on  a 
level  with  the  lathe  centers. 


LESSON  V 

RIGHT-HAND   SEMI-BEAD 

This  exercise  is  the  same  as  Lesson  4,  except  that 
the  curves  are  in  the  opposite  direction,  and  the  last 
division  is  omitted  to  avoid  hitting  the  live-center. 

If  in  turning  the  second  exercise  the  skew  chisel 
was  held  too  close  to  the  body,  you  will  now  have 
trouble  with  the  chisel  catching,  because  you  will 


38  ELEMENTARY  TURNING 

raise  it  directly  up,  or  simply  revolve  it,  instead  of 
moving  the  handle  in  a  curve  toward  the  left.  In 
either  case  the  skew  chisel  will  frequently  catch. 

By  comparing  Fig.  24  with  Fig.  26  you  will  see 
how  the  positions  differ  in  working  the  two  curves. 
These  pictures,  although  showing  the  angle  at  which 
the  chisel  should  be  held,  if  but  one  hand  were  used, 
show  the  real  principle  of  changing  the  angle  of  the 
skew  chisel  in  working  the  two  sides  of  a  bead.  Fig. 


Fig.  25.     Right-hand  Semi-bead. 

27  is  the  same  as  Fig.  26,  excepting  that  both  hands 
are  used,  and  the  chisel  has  not  passed  to  the  extreme 
position. 

Do  not  simply  change  your  position  so  that  you 
will  be  able  to  turn  this  exercise,  and  then  take  a 
different  position  for  turning  curves  in  the  opposite 
direction,  but  learn  to  reach  out  far  enough  to  turn 
curves  either  way  without  changing  the  position  of 
your  feet  on  the  floor.  If  this  is  not  done,  there 
will  be  much  trouble  when  an  attempt  is  made  to 
turn  complete  beads. 

In  all  these  exercises  and  all  similar  light  work, 
the  arms  should  be  free,  never  resting  against  the 
hip  or  side. 


ELEMENTARY  TURNING 


39 


In  turning  very  heavy  work,  sometimes  the 
arm  must  be  held  against  the  side  in  order  to  hold 
the  tool  steady.  Such  work,  however,  does  not 
require  so  frequent  a  change  of  position,  and  the 


Fig.  26.     Turning  with  One  Hand. 

workman  can  step  about  the  lathe  as  often  as 
required  to  bring  his  side  in  line  with  the  handle  of 
the  tool. 

If  the  tools  catch  and  the  piece  is  spoiled,  the 
exercise  should  not  be  repeated.     You  should  pass 


40 


ELEMENTARY  TURNING 


on  to  the  next  exercise.     By  attempting  the  next 
problem  you  will  have  an  opportunity  to  see  the 


Fig.  27.     Using  Skew  Chisel 


ELEMENTARY  TURNING  41 

same  difficulty  from  a  different  view  point,  and  it  may 
enable  you  to  overcome  it.  Only  by  a  study  of  the 
methods,  instead  of  blindly  practicing  for  skill,  will 
you  become  able  to  do  good  and  rapid  work.  To 
repeat  an  exercise  simply  to  gain  skill  cannot  result 
in  a  knowledge  of  turning,  and  is  certain  to  injure 
the  mind,  although  by  such  repetition  you  may  be 
able  to  do  some  very  good  work. 

LESSON  VI 
HALF-INCH   LEFT-HAND  SEMI-BEAD 

This  piece  should  be  of  the  same  diameter  at 
both  ends.  It  is  not  necessary  to  caliper  it,  but 
judge  its  size  carefully  by  examining  it  with  your 


Fig.  28.     Half -inch  Left-hand  Semi-bead. 

eye  only.  A  more  accurate  judgment  may  be 
made  if  the  piece  is  removed  from  the  lathe,  and  held 
up  to  the  light.  Of  course,  you  should  try  to  judge 
correctly  while  the  piece  is  in  the  lathe,  and  with 
patient  effort  you  will  be  able  to  do  so  well  that  you 
will  seldom  have  to  remove  a  piece  from  the  lathe 
for  examination. 


42 


ELEMENTARY  TURNING 


Before  attempting  to  mark  the  spaces  for  the 
curves,   smooth  the  entire  surface  with   the  skew 


Fig.  29.     Using  the  Skew  Chisel. 


ELEMENTARY  TURNING  43 

chisel.  As  the  piece  in  this  exercise  is  the  same  size 
throughout,  and  the  spaces  are  but  one-half  inch, 
the  curves  should  all  be  alike,  i.  e.,  they  should  each 
be  the  shape  of  a  quarter  circle. 

Now  that  you  have  turned  both  right-hand  and 
left-hand  curves,  you  should  be  able  to  turn  these 
without  holding  the  chisel  close  to  your  body. 
Stand  in  such  a  position  as  will  allow  of  turning 
either  right-hand  or  left-hand  curves  without  chang- 
ing the  position  of  your  body.  Fig.  29  shows  very 
clearly  how  such  a  position  is  taken. 

It  frequently  happens  in  turning  the  curves  that 
the  square  end  of  the  adjoining  bead  is  roughened. 
This  end  should  be  cut  smooth  before  the  piece  is 
considered  finished.  To  do  this,  hold  the  skew 
chisel  as  in  cutting  at  the  sides  of  the  coves  (Fig.  39), 
turning  the  handle  to  the  right  or  to  the  left  as 
required  to  give  the  proper  angle  to  the  end,  but 
do  not  tip  or  roll  the  tool  out  of  the  vertical  posi- 
tion. If  the  skew  chisel,  when  used  in  such  a  place, 
is  revolved  so  that  it  cuts  at  a  place  on  the  edge 
above  the  point,  it  is  almost  certain  to  catch. 

After  you  have  done  your  best  to  work  each 
curve  properly  and  they  are  not  satisfactory,  use 
the  skew  chisel,  as  shown  in  Fig.  16  or  17,  and  flatten 
each  curve  a  little,  so  that  you  will  have  a  flat  space 
on  which  to  lay  the  end  of  the  chisel  in  re-cutting 
the  curves.  Be  very  careful  to  keep  each  part  of 
correct  size.  Although  size  is  not  the  most  impor- 


44 


ELEMENTARY  TURNING 


tant  part  of  the  exercise,  yet  you  should  begin  at 
once  to  work  as  nearly  to  size  as  you  can. 


LESSON  VII 

HALF-INCH   RIGHT-HAND   SEMI-BEAD 

This  is  the  same  as  Lesson  6,  except  that  the 
curve  is  in  the  opposite  direction.     The  same  diffi- 


Fig.  80     Half -inch  Right-hand  Semi-bead. 

culties  are  met  as  in  Lesson  5.  Great  care  should 
be  taken  in  this  exercise  to  make  the  curve  a  correct 
quarter  circle. 


Fig.  81.    Marking  Spaces  with  Skew  Chisel. 

You  should  now  be  able  to  use  the  skew  chisel 


with   sufficient   accuracy 
shown  in  Fig.  31. 


to    mark   the   spaces,    as 


ELEMENTARY  TURNING  45 

In  using  the  point  of  the  skew  chisel  in  this  man- 
ner, make  but  a  very  light  mark.  If  you  wish  the 
point  to  cut  deeper,  go  over  the  lines  again  after  the 
rule  has  been  removed. 

A  very  deep  cut  cannot  be  made  except  by  cutting 
out  a  bit  of  the  material,  for  if  the  point  of  the  chisel 
is  held  long  in  one  place  or  pressed  hard  into  the 
wood,  the  friction  caused  will  heat  the  point  and 
color  it  and  may  injure  it  very  much.  The  tools 
should  not  be  held  so  hard  or  so  long  against  the 
wood  as  to  color  them  even  at  the  extreme  thin 
edges  or  points. 

Try  to  make  the  curves  so  even  that  there  will  be 
no  mark  showing  where  the  skew  chisel  began  to  cut. 
Also  be  careful  not  to  rub  the  skew  chisel  on  the 
piece  so  hard  that  the  grain  of  the  wood  will  be 
bruised  or  crushed.  Keep  in  mind  that  in  proper 
turning  the  tools  must  cut  evenly  and  smoothly, 
and  that  the  surface  must  be  glossy.  When  you 
have  acquired  the  correct  way  of  handling  your 
tools,  you  will  soon  be  able  to  work  with  considerable 
speed. 

In  case  the  curves  are  not  of  correct  form,  cut 
them  down  a  little  with  the  roughing  gouge.  Smooth 
these  places  with  the  skew  chisel,  then  try  again  to 
work  the  curves. 

Be  careful  to  keep  the  spaces  equal.  After  cut- 
ting the  curves  part  way  down,  test  the  spaces  with 
the  rule  and  pencil,  as  shown  in  Fig.  19. 


46 


ELEMENTARY  TURNING 


LESSON  VIII 
ONE-INCH  BEAD 

Be  careful  to  work  this  piece  to  correct  size.     If 
lead  pencil  line  is  made  at  the  center  of  each  bead 


Fig.  3%.     One-inch  Bead. 

(Fig.  32),  the  turning  of  the  bead  is  apt  to  be  more 

satisfactory. 

Work  carefully,  leaving  the  pencil  marks  to  be 

seen  when  the  work  is  finished.     Avoid  cutting  too 

deep  between  the  beads  as  you  mark  the  spaces  with 

the  point  of  the  chisel, 
and  also  as  you  turn 
the  beads. 

Turn  from  two  ad- 
joining beads  down 
to  the  central  space, 
taking  a  shaving  first 
from  one  bead  and 
then  from  the  other 
(Fig.  33).  This 


Fig.  33.     Turning  a  Bead. 

turning    both    sides    of 


is 


much  better  than 
bead    at    once,    as    this 


ELEMENTARY  TURNING  47 

requires   the   making  of  a  square  shoulder  at  the 
adjoining  bead. 

When  the  turning  is  finished,  there  should  be  no 
unevenness  between  the  beads.  The  curves  of  the 
two  adjoining  beads  should  exactly  meet.  Any 
roughness  at  this  point  hinders  the  giving  of  a  proper 
finish  to  the  piece.  Even  though  the  piece  is  not  to 
be  sandpapered  or  shellaced,  the  work  should  be 
done  as  if  it  were  to  be  finished  in  this  manner. 


LESSON  IX 
HALF-INCH  BEAD 

This  exercise  is  based  on  the  same  principle  as 
is   given   for   the   one-inch   bead.     The   curves   are 


111 if 1 11 


UiU 


Fig.  34.     Half-inch  Bead. 

somewhat  steeper,  and  should  be  turned  with 
greater  care.  These  beads  should  be  turned  evenly, 
and  without  any  roughness  or  mark  between  them. 
When  the  exercise  is  finished,  the  beads  should 
be  of  the  same  size.  If  some  are  of  greater  diameter 
than  others,  cut  them  down,  but  do  not  cut  them 
entirely  off.  Then  try  again. 


48  ELEMENTARY  TURNING 

There  is  quite  a  tendency  H  making  these  beads, 
to  make  some  much  wider  than  others.  Test  them 
often  with  the  rule.  If  you  are  careful  to  cut  a 
shaving  of  equal  thickness  from  each  side  of  the 
line,  the  beads  will  be  of  the  same  size. 

As  the  beads  decrease  in  size,  the  swinging  of  the 
chisel  by  the  right  hand  is  less,  yet  you  must  not 
hold  it  in  the  same  line  and  simply  turn  it.  The 
large  curves  are  given  to  teach  this  swinging  motion 
of  the  right  hand,  and  if  you  are  to  become  able  to  do 
good  and  rapid  turning,  you  must  continue  to  use 
this  motion.  It  is  the  same  in  kind,  though  differ- 
ing in  degree,  no  matter  what  size  of  curve  you 
are  turning.  Without  this  swinging  motion  or 
changing  of  the  angle  which  the  tool  makes  to  the 
line  of  the  lathe  centers,  the  end  of  the  chisel  is  not 
properly  balanced  between  the  work  and  the  shav- 
ing, and  must  catch  and  injure  the  piece,  unless  the 
chisel  is  held  in  position  by  main  force.  To  apply 
so  much  strength  is  often  quite  difficult  or  impos- 
sible. Even  if  you  are  able  to  do  so  on  these  prac- 
tice pieces,  you  will  find  great  difficulty  in  applying 
so  much  strength  in  turning  things  for  use. 

Do  not  make  the  mistake  of  attempting  to  do 
the  turning  by  taking  so  very  fine  a  shaving  that 
the  chisel  will  not  catch,  although  it  is  not  held  at 
the  proper  angle.  Such  work  is  only  a  kind  of 
scraping  and  can  never  result  in  doing  good  work 
or  in  learning  to  turn. 


ELEMENTARY  TURNING 


49 


The  peculiar  conditions  of  grain,  etc.,  are  certain 
to  make  trouble  for  you,  unless  you  learn  the  correct 
method  of  using  the  chisel.  When  the  chisel  is  used 
correctly,  you  will  find  it  quite  an  easy  matter  to 
turn  cross-grain,  knots,  and  almost  any  sort  of  a 
piece. 

LESSON  X 
THREE-EIGHTHS-INCH   BEAD 


Fig.  35.     Three-eighths-inch  Bead. 

This  exercise  is  worked  the  same  as  the  1-inch 
beads  and  the  J-inch  beads.     The  f-inch  beads  may 


Fig.  36.     Using  a  Gauge  Stick. 
4 


50  ELEMENTARY  TURNING 

be  cut  with  the  J-inch  skew  chisel.  This  size  bead 
is  probably  used  more  than  any  other  in  the  regular 
turnings  for  stair  and  porch  work. 

To  make  all  the  divisions  exactly  f  inch  is  quite 
difficult.  To  assist  in  making  these  divisions,  you 
may  use  a  gauge  stick,  as  shown  in  Fig.  36.  Hold 
the  stick  firmly,  and  unless  it  fits  the  piece  exactly, 
press  it  against  one  end,  and  gradually  change  the 
pressure  until  it  marks  throughout  the  length  of  the 
piece.  Hold  the  stick  so  that  the  spurs  point 
towards  the  axis  line  of  the  cylinder.  The  making 
of  a  gauge  stick  is  described  in  Part  3. 


LESSON  XI 
ONE-INCH  COVE 


Fig.  37.     One-inch  Cove. 

This  exercise  introduces  the  turning  gouge.  For 
directions  for  grinding  and  whetting  gouges  see 
Part  3.  Be  sure  that  the  gouge  is  in  proper  condi- 
tion before  attempting  to  use  it. 

Turn  the  piece  to  a  smooth,  straight  cylinder. 
Lay  off  the  spaces  as  indicated  by  the  drawing 


ELEMENTARY  TURNING 


51 


Chisel. 


Cutting  with  Point  of  Skew 


Fig.  38.     One-inch  Cove. 

(Fig.  38).  Start  the 
coves  by  making 
cuts  with  the  point 
of  the  skew  chisel, 
as  shown  in  Fig.  39. 
For  turning  coves 
of  this  size  and 
smaller  sizes,  includ- 


ing i-mch,  the 
J-mch  turning 
gouge  should 
be  used. 

In  first  at- 
tempting to 
use  the  gouge 
for  working 
coves,  it  is 
better  to  start 

the    Opening     Fig.  40.     Starting  Coves  with  Gouge . 


52 


ELEMENTARY  TURNING 


by  cutting  out  a  small  amount  of  waste  material,  as 
shown  in  Fig.  40. 

The  gouge  is  here  held  in  the  opposite  position  to 
that  in  which  it  is  used  while  cutting  the  cove.     This 


Fig.  41.     Turning  a  Cove. 

is  to  make  an  opening  in  the  surface  so  that  it  will 
not  be  so  difficult  to  keep  the  gouge  from  cutting 
back  of  the  line  and  spoiling  the  work.  After  the 
space  has  been  started  in  this  manner,  it  will  appear 


ELEMENTARY  TURNING  53 

as  in  Fig.  40  or  42.  To  finish  the  cove,  hold  the 
gouge  as  shown  in  Figs.  41  and  42,  and  gradually 
move  it  forward  and  upward,  until  it  has  the  position 
shown  in  Figs.  43  and  44.  Then  place  the  gouge  at 
the  other  side  of  the  cove,  and  move  it  in  the  same 
manner. 

Continue  to  repeat  these  movements,  cutting  a 
shaving  alternately  from  each  side,  and  each  time 

making    the    cove    a     ^__ 

little  deeper,  until  it 
is  of  the  proper  depth. 
Always  strive  to  have 
the  shavings  from 
each  side  meet  at  the 
center,  so  that  there 
will  be  no  unevenness 
where  they  come  to- 
gether. This  is  really 

the  most  difficult  part      „.  ^ 

r.  Fig.  42.     Turning  a  Cow. 

of  the  work  in  turning 

coves.     If  the  gouge  is  used  properly,  the  finished 

piece  will  have  the  appearance  shown  in  Fig.  37. 

If  the  gouge  passes  beyond  the  center  it  will 
scrape  the  wood  instead  of  cut  it,  and  will  be  soon 
dulled. 

If  the  gouge  catches  in  starting,  it  is  probably 
caused  by  not  holding  it  so  that  it  cuts  at  the  extreme 
point,  as  indicated  by  the  sketch  Fig.  45,  and  illus- 
trated in  Fig.  47. 


54 


ELEMENTARY  TURNING 


The  common  mistake  in  the  use  of  the  gouge  is 
the  failure  to  lower  the  handle  so  that  it  will  cut 
near  the  top  of  the  piece  as  it  reaches  the  center  of 


Fig.  43.     Turning  a  Cove. 

the  cove.  If  the  handle  is  not  lowered  but  rolled, 
the  gouge  will  scrape  instead  of  cut.  It  will  be 
quickly  dulled  if  it  scrapes,  and  the  cove  will  be 
rough  instead  of  smooth  and  bright. 


V, 


ELEMENTARY  TURNING 


55 


The  correct  shape  of  the  cove  may  be  secured  by 

this   scraping   mo-    r^____ i 

tion,  but  it  will  not 
be  good  work,  and 
it  will  be  easily 
distinguished  from 
work  which  has 
been  properly 
done.  There  is  no 
reason  why  this 
work  should  be 

done    by    Scraping,     Fig.  44.     Turning  a  Cove. 

as  it  is  not  a  difficult  matter  to 
learn  how  to  do  it  properly;  and 
when  the  proper  way  is  once 
learned  the  work  can  be  done 
much  faster  in  the  right  way  than 
Fig. 4^.  Starting  Gouge.  H  can  be  done  in  the  wrong  way. 


LESSON  XII 

THREE-FOURTHS-INCH   COVE 

This  exercise  is  similar  to  that  given  in  Lesson  11. 
The  difference  being  that  the  coves  are  but  f  inch. 
The  spaces  between  the  coves  are  each  J  inch.  The 
straight  parts  between  the  coves  are  not  worked 
after  the  piece  is  spaced  for  cutting  the  coves. 
Therefore^  the  cylinder  should  be  very  carefully 
smoothed  before  marking  the  spaces.  These  coves 


56 


ELEMENTARY  TURNING 


should  be  exactly  |  inch  deep,  and  each  should  be 
an  exact  semi-circle.  It  is  as  great  a  mistake  to 
make  the  coves  too  deep  as  it  is  to  leave  them  too 


Fig.  46.     Three-fourths-inch  Cove. 

shallow.  One  who  has  made  the  1-inch  cove 
correctly,  as  given  in  the  previous  lesson,  should 
now  be  able  to  make  these  coves  of  correct  shape 
and  size. 

You  can  try  using  the  gouge  without  first  cutting 
back  from  the  line,  as  in  Fig.  40,  if  you  wish.     The 


Fig.  47.     Starting  the  Cove. 

proper  position  for  starting  the  cut  in  this  manner 
is  shown  in  Fig.  47.  The  handle  is  moved  from  the 
upper  to  the  lower  position,  the  same  as  shown  in 
Figs.  41  and  43.  Care  must  be  taken  to  keep  the 


ELEMENTARY  TURNING  57 

gouge  from  bruising  the  corner  and  making  the  cove 
too  wide. 

In  order  to   avoid   bruising   the   edges,  a  light 
cut  should  be  taken  at  first. 


LESSON  XIII 
HALF-INCH   COVE 

In  this  piece  the  coves  and  the  spaces  between 
them  are  each  J  inch. 

The  work  required  in  making  J-inch  coves  is  the 
same  as  given  in  Lessons  11  and  12  for  making  the 


Fig.  48.     Half -inch  Cove. 

1-inch  and  the  f-inch  coves.  Because  these  curves 
are  smaller,  you  will  need  to  be  more  careful  to  make 
them  of  correct  size  and  shape. 

You  should  now  be  able  to  cut  the  curves  so 
nicely  that  there,  will  be  no  marks  left  from  the 
point  of  the  skew  chisel  at  the  edges  of  the  flat  parts. 
The  bottom  of  each  cove  should  be  so  smooth  that 
you  cannot  see  the  point  at  which  the  shavings  from 
each  side  meet. 


58  ELEMENTARY  TURNING 

LESSON   XIV 
THREE-EIGHTHS-INCH  COVE 

The  piece  for  the  f-inch  coves  should  be  turned 
with  the  greatest  care,  as  it  is  the  last  of  the  cove 
exercises.  Be  sure  that  the  cylinder  is  of  full  size, 
and  that  it  is  also  very  smooth  and  straight  before 


Fig.  49.     Three-eighths-inch  Cove. 

cutting  the  coves.     The  spaces  between  the  coves 
are  each  |  inch. 

Some  may  prefer  the  J-mch  gouge  for  this  size 
of  cove,  yet  a  f-inch  gouge  will  do  the  work  better 
if  it  is  correctly  used.  This  piece  may  be  spaced 
with  the  gauge  stick  used  for  the  f-inch  beads,  as 
shown  in  Fig.  36. 

LESSON  XV 
ONE-INCH   BEAD  AND   COVE 

Turn  first  the  coves  as  indicated  by  the  dotted 
lines  of  the  drawing  (Fig.  51),  cutting  straight  down 
to  the  point  where  the  curves  will  be  joined  when 
the  bead  is  turned.  Be  careful  to  finish  the  coves, 
as  shown  in  Fig.  52,  before  attempting  to  turn  the 
beads. 


ELEMENTARY  TURNING 


59 


The  beads  may  be  worked  either  with  the  gouge, 
as  shown  in  Fig.  53,  or  the  chisel  may  be  used,  as  in 


Fig.  50.     One-inch  Bead  and  Cove. 

Figs.  23,  33,  and  54.  Whether  the  skew  chisel  or  the 
gouge  would  be  used  by  the  practical  turner  would 
be  determined  by  circumstances.  For  ordinary 


Fig.  51.     One-inch  Bead  and  Cove. 

cheap  work  the  gouge  would  probably  be  better,  as 
it  would  avoid  a  change  of  tools,  and  the  gouge  can 
be  used  more  rapidly.     For  very  fine  work  the  skew 
chisel  must  be  used. 
In  making  this 
piece   two   of    the 
beads  maybe  turned 
with  the  gouge,  and 

two     of     them    with    Fig.  52.  Bead  and  Cove,  Coves  Completed. 

the  skew  chisel.  After  the  tools  are  understood,  there 
will  be  many  opportunities  for  the  pupil  to  deter- 
mine which  tool  to  use  for  a  certain  piece  of  work. 


60 


ELEMENTARY  TURNING 


If  the  piece  is  to  be  highly  finished,  use  the  tool 
that  will  do  the  smoothest  work;  if  the  -finish  on  the 


Fig.  53.     Turning  Bead  with  Gouge. 

piece  is  not  important,  use  the  tool  that  will  do  the 
work  in  the  least  time. 

Do  not  forget  that  it  is  a  great  waste  of  time  to 
use  a  tool  in  such  a  manner  as  will  dull  it  rapidly, 


Fig.  64.     Turning  Bead  with  Skew  Chisel. 

even  if  by  such  a  use  a  part  of  the  work  may  be  done 
more  quickly. 

One  of  the  chief  errors  of  this  nature  is  the  use 
of  chisels  and  gouges  for  scraping  instead  of  holding 


•  ELEMENTARY  TURNING  61 

them  so  that  they  will  cut  shavings.  Such  a  use  of 
these  tools  dulls  them  very  rapidly,  because  the 
wood  revolves  across  the  cutting  edge,  and  is  torn 
off  instead  of  being  cut. 

LESSON  XVI 
HALF-INCH   BEAD  AND  COVE 

This  exercise  is  similar  to  the  previous  one.     The 
coves  and  beads  are  each  J  inch.     If  the  coves  are 


Fig.  55.     Half-inch  Bead  and  Cove. 

made  J  inch  deep,  the  curves  will  all  be  half  circles. 

Be  careful  to  cut  the  coves  to  exactly  the  correct 

depth. 

Fig.  56  shows  the  piece  with  the  coves  finished. 
Notice   that   they   are 
straight  down  at  each 
side  for  J  inch,  and  that 
the  bottom  is  an  exact     Fig.  56.     Half-inch  Bead  and  Cove, 
J-inch  semi-circle.  C°VGS  Completed. 

If  you  are  very  particular  to  make  the  coves  in 
this  manner,  you  will  find  it  much  easier  to  work 
the  piece  to  a  correct  shape.  If  you  are  careless 
about  making  the  coves,  and  especially  about  cut- 


62  ELEMENTARY  TURNING 

ting  the  sides  square  down  to  the  depth  of  f  inch, 
you  will  experience  much  difficulty  in  turning  the 
beads  so  that  they  will  be  of  proper  size  and  shape. 
You  will  also  be  obliged  to  widen  Jthe  coves,  and  in 
so  doing  you  may  have  considerable  trouble  to  make 
them  of  correct  size.  This  style  of  turning  was  used 
a  great  deal  at  one  time,  as  it  could  be  done  very 
rapidly  after  the  turner  had  learned  the  necessary 
motions.  These  movements  would  often  be  learned 
by  continued  practice  without  any  attempt  to  learn 
the  general  principles  of  turning. 

LESSON  XVII 
SPINDLE  WITH   CONES 

Fig.  57  indicates  the  shape  of  the  spindle  with 
cones,  but  the  size  of  the  various  parts  may  be  modi- 


Fig.  57.     Spindle  with  Cones. 

fied  to  suit  the  judgment  of  the  individual  student 
The  general  plan  of  the  illustration  should  be  fol- 
lowed. There  should  be  the  same  number  of  beads, 
and  they  should  be  similar  in  size  and  location. 
The  two  halves  should  be  exactly  alike,  and  the  parts 
between  the  two  center  beads  and  the  two  end  beads 
should  be  perfect  tapers. 


ELEMENTARY  TURNING 


63 


As  the  two  ends  are  to  be  exactly  the  same  size, 

you  should  measure  their  diameter  with  the  calipers. 

Adjust   the   calipers,  as   directed  in  Part  3.     Hold 

them  as  shown  in  Fig.  58. 

Do  not  force  them  on  to 

the  piece.    They  should 

simply   touch    the    two 

sides  so  lightly  that  they 

will  not  mar  the  surface. 
At  first,  you  had  bet- 
ter stop  the  lathe  while 

using  the  calipers.  After 

you  have  become  accus- 
tomed  to   using    them, 

you  can  do  so  while  the      Fig'58'     u*ing  Calipers. 

lathe  is  in  motion,  if  the  ends  of  the  calipers  are 

of  proper  shape. 

Before  using  the  calipers  read  what  is  said  in 

Part  3,  about   shaping   the   ends  for   use   in   wood 

turning. 

Turn  the  entire  piece 
to  a  cylinder  with  the 
roughing  gouge',  and 
carefully  smooth  the 
surface  near  each  end 


Fig.  59.     Two  Beads  Turned. 


with  the  skew  chisel.     Turn  one  bead  at  each  end, 
as  shown  in  Fig.  59. 

This  piece  is  to  be  finished  with  two  coats  of 
shellac,  applied  with  a  brush,  and,  therefore,  there 


64  ELEMENTARY  TURNING 

must  not  be  any  sharp  corners  which  will  be  rubbed 
white  when  sandpapering  for  the  second  coat  of 
shellac.  Care  must  be  taken  that  there  is  no  mark 
left  by  the  point  of  the  obtuse  corner  of  the  chisel 
at  the  bottom  of  the  grooves  or  on  the  sides  of  the 
beads.  The  upper  corners  of  the  small  spaces  at 
each  side  of  the  end  beads 
sh'ould  be  carefully 
rounded,  and  the  spaces 
should  not  be  too  deep  to 

be  smoothed  with   sand- 

Fig.  60.     Center  Sized. 
paper.      If    there   is    any 

space  that  will  gather  the  finishing  material,  and  is 
so  narrow  that  the  finish  cannot  be  rubbed  out,  it 
will  injure  the  appearance  of  the  piece. 

Keep  in  mind  as  the  plan  is  made  for  the  beads 
and  curves,  just  how  the  various  angles  will  be  sand- 
papered and  finished.  After  each  end  has  been 
finished,  turn  the  piece  small  at  the  center,  as  shown 

in    Fig-  60.     Use   the 

roughing  gouge  for  doing 
this.  The  size  at  the 
cente.r  should  be  the 

diameter    of    the    two 
Fig.  61.    Center  Beads  Turned.  m          , , 

center  beads.     Turn  the 

center  beads,  finishing  them  smoothly  at  each  side, 
being  careful  not  to  cut  the  groove  between  them  too 
deep  (Fig.61).  Finish  the  piece'by  turning  the  conical 
part  at  each  side,  finishing  with  the  skew  chisel. 


ELEMENTARY  TURNING  65 

The  surface  of  these  two  cones  should  be  very  smooth 
and  straight.  The  appearance  of  the  finished  piece 
should  be  as  shown  in  Fig.  55. 


LESSON  XVIII 
SANDPAPERING 

For  the  work  in  turning,  several  grades  of  sand- 
paper are  required.  For  smoothing  the  exercises 
given  in  Lessons  17  to  25,  No.  J  or  No.  0  should  be 
used.  To  pro- 
duce a  very 
fine  finish,  use 
coarse  paper 
at  first,  and 
then  each 
finer  grade  in 
order,  until 
the  required 
finish  has  been 
obtained.  No. 
00  should  pro-  F*' 
duce  a  finish  fine  enough  for  any  school  wcrk.  The 
sheet  of  sandpaper  should  be  torn  by  using  the  saw 
the  same  as  in  tearing  sandpaper  in  joinery.  Usu- 
ally, it  is  best  to  begin  by  using  pieces  but  one-eighth 
of  a  sheet  in  size.  After  some  practice  in  using  small 
pieces,  the  one-fourth-of-a-sheet  pieces  may  be  used. 
Usually  the  paper  should  be  folded  double.  Move 


66 


ELEMENTARY  TURNING 


the  rest  out  of  the  way,  or  remove  it  entirely  before 
beginning  to  use  the  sandpaper. 

Hold  the  paper  in  both  hands,  as  shown  in  Fig. 
62,  always  keeping  the  paper  moving  from  end  to 
end,  over  the  part  being  smoothed,  so  as  to  avoid 
scratching  the.  surface  of  the  work.  The  less  the 
paper  is  moved  about,  providing  it  does  not  scratch 
the  work,  the  better. 

In  using  a  fine  grade  of  sandpaper,  you  can  hold 
it  beneath  the  work,  as  shown  in  Fig.  63.  This 
admits  of  a  better  view  of  the  piece.  It  is  not  a 

good  plan  to  use 
very  coarse  paper 
in  this  manner,  as 
the  dust  from  the 
wood  gathers  on 
the  surface  of  the 
paper  and  hinders 
the  flint  from  cut- 
ting. In  using  the 

finer  grades,  the 
Fig.  68.     Sandpapering.  -^  ig   sometimes 

an  advantage,  as  it  causes  the  sandpaper  to  cut 
slower  and  smoother.  In  any  use  of  sandpaper,  be 
careful  not  to  throw  any  more  of  the  dust  into  the 
air  than  is  really  necessary. 

In  sandpapering  beads,  the  edge  of  the  folded 
paper  is  used,  as  shown  in  Fig.  64.  As  often  as  the 
edge  becomes  worn  out,  another  fold  is  made.  Each 


ELEMENTARY  TURNING 


67 


time  a  new  fold  is  made,  it  should  be  near  the  worn 
one,  so  that  the  paper  will  be  used  evenly. 

In  working  around  beads  or  curves  of  any  sort, 
the  sandpaper 
should  be 
given  a  twist- 
like  motion, 
in  order  to 
preserve  the 
shape  of  the 
curve.  Sharp 
edges  or  deep 
V-shaped  cuts 
are  neither 
easily  sand- 
papered nor  finished,  and  should,  therefore,  be 
avoided  as  much  as  possible.  The  design  should  be 
arranged  so  as  to  avoid  such  places. 


Fig.  64.     Sandpapering  Beads. 


LESSON  XIX 

SHELLACING 

Shellacing  of  turned  pieces  may  be  done  with 
either  a  brush,  or  with  a  polishing  pad  or  a  cloth. 
When  the  brush  is  used,  the  principles  involved  are 
the  same  as  those  in  using  the  brush  on  hand-work. 
One  or  more  coats  may  be  applied,  rubbing  each 
with  sandpaper  or  pumice  stone. 


68 


ELEMENTARY  TURNING 


In  applying  the  shellac  with  a  brush  the  piece 
must  not  be  revolved  at  full  speed  of  the  lathe, 
but  simply  turned  by  taking  hold  of  the  belt  with 
the  hand  and  pulling,  while  the  brush  is  held  against 
the  work  with  the  other  hand,  as  shown  in  Fig.  65. 


Fig.  65.     Shellacing. 

In  sandpapering  the  coats  of  finish,  much  care 
must  be  taken  to  avoid  rubbing  entirely  through  the 
finish.  This  is  especially  liable  to  occur  at  the  top 
of  beads  and  at  corners.  The  principle  is  really  the 
same  as  in  sandpapering  hand-work,  the  apparent 


ELEMENTARY  TURNING  69 

difference  being  caused  by  the  speed  of  the  lathe. 
Often  you  will  have  better  success  if  you  change  the 
belt  to  a  much  slower  speed. 

There  is  also  a  tendency  to  burn  the  work, 
because  of  the  heat  resulting  from  the  friction  of 
the  paper  with  the  surface  revolving  so  rapidly. 
The  burning  of  the  wood  is  not  so  apt  to  occur,  if 
the  finish  is  ground  down  with  pumice  stone  and  oil. 
Grinding  the  finish  in  this  manner  is  not  a  very 
difficult  task.  Use  a  cloth  or  a  bit  of  waste  for  a 
grinding  pad.  Place  on  the  pad  a  small  amount  of 
oil  and  pumice  stone.  Ordinary  machine  oil  may 
be  used,  but  regular  rubbing  oil  is  better.  Examine 
your  work  often,  lest  you  grind  off  too  much  of  the 
finish.  Use  plenty  of  oil  and  plenty  of  pumice 
stone,  for,  unless  the  pad  is  kept  moist  and  well 
supplied  with  pumice  stone,  it  also  will  burn  the 
work.  It  should  be  moved  about,  similar  to  sand- 
paper. 

LESSON  XX 
BEADED   SPINDLE 


Fig.  66.     Beaded  Spindle. 

After  roughing  this  piece,  locate  and  turn  the 
central  bead,  as  shown  in  Fig.  67.     Do  not  make 


76 


ELEMENTARY  TURNING 


Fig.  75.    Marking  Spaces. 

ends,  it  should  be  held  as  shown  in  Fig.  75.  Never 
lay  it  on  top  of  the  rest,  except  after  the  piece  has 
been  smoothed  to  a  cylinder  its  entire  length,  as  in 
Figs.  19  and  31,  as  it  is  dangerous  to  do  so. 


Fig.  76.    Cutting  in  for  Square  End. 

Another  way  to  determine  the  point  for  cutting 
in  at  the  ends  is  to  draw  a  pencil  line  across  one  side 
of  the  piece  before  starting  the  lathe,  or  before  the 


ELEMENTARY  TURNING 


77 


piece  has  been  placed  in  the  lathe.  First  mark  the 
distances  from  each  end,  and  then  with  a  try-square 
or  with  the  rule,  used  as  a  straight  edge,  draw  a 
heavy  line  entirely  across  the  piece.  This  line  will 
be  visible  while  the  lathe  is  in  motion. 

The  skew  chisel  is  used  to  cut  the  curve  at  the 
square  part.  The  first  operation  is  to  cut  a  deep 
groove,  as  shown  in  Fig.  76,  with  the  point  of  the 
chisel.  To  make  this  V-shaped  groove  the  point  of 
the  skew  chisel  must  not  be  pressed  hard  against 


Fig.  77.     Rounding  Corners. 

the  piece,  but  cut  lightly  from  the  two  edges  of  the 
V  until  the  space  is  formed. 

After  the  groove  has  been  made,  the  chisel  is 
reversed,  and  the  corner  rounded  with  the  obtuse 
angle,  as  in  finishing  a  large  bead  (Fig.  77).  See  also 
Figs.  23,  27,  29,  and  33. 

Care  must  be  taken  in  cutting  such  a  place,  that 
nearly  all  the  work  shall  be  done  by  that  part  of 
the  edge  near  the  obtuse  corner  of  the  chisel.  If 


72 


ELEMENTARY  TURNING 


rubbing  will  not  be  steady  or  hard  enough,  but  there 
is  danger  of  rubbing  too  hard.     Only  by  experience 

can  the  amount  of  pressure     t = 

be  determined.  Ridges  may 
be  removed  sometimes  by 
an  increase  of  pressure,  and 
sometimes  the  pressure  is 
made  so  great  that  the 
finish  is  removed  or  turned 
black. 

Watch  the  surface  very 
carefully  and  keep  in  mind 

that  if  too   much   finish  is 

. .     ,  .  .    . ,      .  Fig.  70.  Placing  Shellac  on  Cloth 

applied,   or    if   it    is   not 

properly  rubbed  in,  it  may  all  be  removed  by  the 
use  of  pumice  stone  and  oil,  except  such  places   as 

h  ave  been 
burned.  Moist- 
ening the  cloth 
with  alcohol 
will  sometimes 
help  to  remove 
the  ridges. 

As  soon  as 
the  cloth  be- 
gins to  [stick 


Fig.  71.     Polishing  with  Cloth. 


or  pull,  a  very 
little   oil    must 


be  applied  to  the  face  of  the  cloth  to  keep  it  from 


ELEMENTARY  TURNING 


73 


roughing  the  finish.  The  oil  does  the  finish  no  good. 
In  fact,  the  more  oil  the  poorer  the  finish,  but  oil 
must  be  used  to  keep  the  cloth  from  sticking. 

Some  people  use  the  ordinary  lubricating  oil 
from  the  can  used  about  the  lathe,  but  raw  linseed 
oil  is  used  where  much  polishing  is  done.  For  the 
finest  grade  of  work,  rub  a  little  raw  linseed  oil  on 
the  surface  before  applying  the  shellac  and  use  more 
oil  during  the  rubbing  if  needed.  After  the  polish 
has  been  rubbed 
to  a  smooth,  even 
gloss,  rub  with 
olive  oil  and  then 
with  a  clean  cloth 


Fig.  72.     Polishing  with  Pad. 


or  the  hand,  bare- 
ly moistened  with 
alcohol. 

A  pad  com- 
posed of  cotton 
batting  or  a  piece 
of  polishing  felt  used  under  the  cloth,  as  shown  in 
Fig.  72,  is  sometimes  of  great  advantage,  but  for 
the  present  work  it  is  not  essential. 

If  the  grain  of  the  wood  is  very  open,  it  is  neces- 
sary to  fill  the  grain  by  using  a  filler,  similar  to  hand 
finishing  of  open  grained  woods.  By  applying  the 
raw  linseed  oil  before  the  final  sandpapering,  the 
dust  from  the  wood  will  be  moistened  and  rubbed 
into  the  open  pores,  often  making  a  good  filler. 


74  ELEMENTARY  TURNING 

Sometimes  all  that  is  required  is  to  coat  the  piece 
with  shellac,  being  careful  to  brush  as  much  as  possible 
into  the  grain,  allowing  it  to  dry  thoroughly;  after 
which  it  should  be  ground  down  with  pumice  stone 
and  finished  by  rubbing  with  a  cloth,  coated  with -a 
very  little  shellac.  Do  not  be  satisfied  until  the  finish 
is  even  and  bright,  and  the  grain  is  entirely  filled. 

There  are  many  methods  of  doing  polishing  in 
the  lathe,  and  finishers  differ  very  much  in  regard  to 


Fig.  73.     Polishing  Outfit. 

the  material  to  be  used,  and  the  method  of  applying 
it.  It  is  probably  not  best  to  attempt  any  but  the 
most  simple  methods,  with  the  simplest  of  materials 
at  this  time. 

One  item  of  great  importance  is  to  keep  the  pad 
or  cloth  moist.  To  do  this,  keep  it  in  a  tightly 
closed  dish.  A  fruit  jar  or  tin  can  having  an  air- 
tight cover  will  be  sufficient. 


ELEMENTARY  TURNING  75 

The  outfit,  shown  in  Fig.  73,  is  a  very  gooa  one. 
The  can  is  for  keeping  the  cloths  and  pads  which 
have  been  filled  with  shellac.  The  large  bottle  is 
for  raw  linseed  oil.  The  smaller  bottles  are  for 
alcohol  and  olive  oil.  The  square  bottle  is  for 
rottenstone  or  pumice  stone,  and  it  has  a  perforated 
cover.  The  shellac  is  taken  from  the  same  dish 
used  in  joinery. 

If  the  pad  or  cloth  is  opened  and  freshly  filled 
with  shellac  before  it  is  put  away  in  the  can,  the 
shellac  will  be  more  evenly  distributed  when  wanted. 
If  a  small  amount  of  oil  is  dropped  on  to  the  pad 
with  the  shellac,  it  will  generally  work  better  than 
when  applied  to  the  surface.  Some  finishers  mix 
^various  gums,  also  the  linseed  oil,  with  the  shellac 
for  polishing  and  for  similar  work. 

LESSON  XXII 
SQUARE-END   SPINDLE 


Fig.  74.     Square-end  Spindle. 

This  lesson  introduces  the  combination  of  round 
and  square  elements  on  the  same  piece.  In  using 
the  rule  to  measure  spaces  on  a  piece  having  square 


76 


ELEMENTARY  TURNING 


Fig.  75.     Marking  Spaces. 

ends,  it  should  be  held  as  shown  in  Fig.  75.  Never 
lay  it  on  top  of  the  rest,  except  after  the  piece  has 
been  smoothed  to  a  cylinder  its  entire  length,  as  in 
Figs.  19  and  31,  as  it  is  dangerous  to  do  so. 


Fig.  76.     Cutting  in  for  Square  End. 

Another  way  to  determine  the  point  for  cutting 
in  at  the  ends  is  to  draw  a  pencil  line  across  one  side 
of  the  piece  before  starting  the  lathe,  or  before  the 


ELEMENTARY  TURNING  77 

piece  has  been  placed  in  the  lathe.  First  mark  the 
distances  from  each  end,  and  then  with  a  try-square 
or  with  the  rule,  used  as  a  straight  edge,  draw  a 
heavy  line  entirely  across  the  piece.  This  line  will 
be  visible  while  the  lathe  is  in  motion. 

The  skew  chisel  is  used  to  cut  the  curve  at  the 
square  part.  The  first  operation  is  to  cut  a  deep 
groove,  as  shown  in  Fig.  76,  with  the  point  of  the 
chisel.  To  make  this  V-shaped  groove  the  point  of 
the  skew  chisel  must  not  be  pressed  hard  against 


Fig.  77.     Rounding  Corners. 

the  piece,  but  cut  lightly  from  the  two  edges  of  the 
V  until  the  space  is  formed. 

After  the  groove  has  been  made,  the  chisel  is 
reversed,  and  the  corner  rounded  with  the  obtuse 
angle,  as  in  finishing  a  large  bead  (Fig.  77).  See  also 
Figs.  23,  27,  29,  and  33. 

Care  must  be  taken  in  cutting  such  a  place,  that 
nearly  all  the  work  shall  be  done  by  that  part  of 
the  edge  near  the  obtuse  corner  of  the  chisel.  If 


78 


ELEMENTARY  TURNING 


the  tool  turns  much  from  the  vertical  position,  it 
will  probably  catch.  When  the  chisel  is  properly 
held,  it  will  not  catch /neither  will  there  be  much 
tendency  for  the  tool  to  jar. 

In  order  to  get  as  much  practice  as  you  can 
before  attempting  to  finish  the  ends,  you  can  cut 
several  places  along  the  central  part  of  the  piece, 
and  round  them  the  same  as  the  ends  are  to  be 

rounded.     Do 

not  make  the 
square  part  at 
the  ends  too 
short. 

After  the 
ends  are  fin- 
ished, use  the 
roughing 
gouge  in  re- 
moving the 
waste  mate- 

Fig.  78.     Rolling  Gouge.  rial    from    the 

central  part  of  the  piece,  making  it  the  proper  size 
at  the  ends  for  the  beads.  Roll  the  gouge,  as  shown 
in  Figs.  78  and  20,  so  that  it  can  cut  close  to  the 
corner  without  danger  of  catching. 

Next  smooth  the  cylindrical  portion  with  the 
skew  chisel  and  turn  the  beads  at  the  ends,  as  shown 
in  Fig.  79.  For  this  you  will  probably  require  the 
|-inch  skew  chisel. 


ELEMENTARY  TURNING 


79 


With  the  rough- 
ing gouge  shape 
the  piece  as 
shown  in  Fig.  80. 
Instead  of  using 
the  rule  and  pen- 


Fig.  79.     End  Beads  Turned. 


cil    or    rule    and 
skew  chisel  for  marking  the  position  of  the  center 
beads,  you    can  set  the  compasses  to  the  required 

distance,  and  by 
holding  them  as 
shown  in  Fig.  81, 
make  a  mark  on 
the  piece  as  it 
revolves.  Do 
not  attempt  to 
make  a  deep 


Fig.  80.     Center  Sized. 


mark  with  the  point  of  the  compasses,  but  make  a 
light  line,  and  deepen  it  with  the  point  of  the  skew 

chisel,  as  in   

Fig.  39. 

The  posi- 
tion of  the 
center  bead 
should  be  de- 
termined by 

Fig.  81. 
measuring  to 


Spacing  with  Compasses. 


its  sides  from  each  end.    The  two  smaller  beads  should 
be  measured  from  the  sides  of  the  central  bead. 


80 


ELEMENTARY  TURNING 


First  size  the  three  beads  wl  ich  are  at  the  center, 
making  them  square,  as  shown  in  Fig.  82;  then 
round  these  three  beads,  as  shown  in  Fig.  83. 

Complete  the  piece  by  turning  the  long  curves. 
These  curves  should 
be  roughed  to  near 
the  finished  size  with 
the  roughing  gouge, 
and  then  shaped  and 
smoothed  With  the  ^  **'  Center  Bead*  Roughed  to  Si*. 

1-inch  skew  chisel  to  the  form  shown  in  Fig.  74. 
Before   attempting  to   do   any  sandpapering  on 

this  piece,  remove  the  rest  so  that  the  fingers  or  the 

hand  cannot  be  caught  between  the  corners  of  the 

revolving  piece  and  the  rest. 

If  the  cylindrical  portion  of  the  piece  is  polished 

the  same  as  the 
piece  in  Lesson 
21,  the  flat  sides 
at  the  ends 
should  be 
dressed  smooth 


Fig.  83.     Center  Beads  Turned. 


with  the  plane, 
and  sand- 
papered and  polished  by  hand  after  the  piece  has 
been  turned. 


ELEMENTARY  TURNING 


81 


LESSON  XXIII 
CURVED   SPINDLE 

This  piece  should  first  be  roughed  to  a  cylinder, 
and  then  the  ends  of  the  curves  at  the  center  should 


Fig.  84.     Curved  Spindle. 

be   finished   (Fig.   85).     Next  the   piece  should  be 
tapered  towards  each  end,  as  shown  in  Fig.  86,  using 

the  roughing 
gouge.  This 
determines  the 
diameter  of  the 
ovolo  at  each 
end. 

Fig.  85.     Curves  Started.  Turn     the 

ovolo   and   straight  portion   at  each  end  (Fig.  87), 

using  the  chisel  for  this  part  of  the  work.  Mark  the 

points  A,  Fig. 

87,    with    the 

acute  point  of 

the  chisel,  as 

in  cutting  for 


the  cove  (Fig. 


Ends  Tapered. 


82 


ELEMENTARY  TURNING 


87'    Ends  Tumed- 


39),   and    then 

turn  this  curve 

with  a  J-inch 

gouge,  finishing 

it  as  shown  in 

Fig  88 

Rough  down  the  long  curves  with  the  roughing 

gouge,  and  finish  with  the  inch  skew  chisel  to  the 

shape  shown 
in  Fig.  84.  This 
piece  may  be 
polished  by  the 
method 


Fig.  88.     Cavettos  Turned. 


same 

as    given 

Lesson  21. 


in 


LESSON  XXIV 
TAPERED   SPINDLE 


Fig.  89.     Tapered  Spindle. 

This  is  a  form  often  used  in  architectural  work. 
The  square  part  of  this  piece  is  the  lower  end  or  base. 


ELEMENTARY  TURNING 


83 


IJirst  turn  the  curve  at  the  square  end  and  shape 
the  round  part  as  shown  in  Fig.  90.  Smooth  the 
larger  end  of 
the  cylindrical 
part  and  turn 
the  cavetto, 
which  is  next 


to   the    base 


Fig.  90.     Pattern  Outlined. 


(Fig.  91). 

In  finishing  this  curve,  hold  the  J-inch  gouge  as 

shown  in  Fig.  92.     The  gouge  is  rolled  very  much  to 

,  the  right,  so 
that  it  will 
cut  square 
up  to  the 
end  of  the 
long  curve. 
The  lower 


Fig.  91.     Base  Completed. 


end  of  the  long  curve  is  turned  with  a  skew  chisel 
the  same  as  in  turning  a  bead  (Fig.  23). 

After  the  piece  has 
been  worked  to  the 
shape  shown  in  Fig.  91, 
a  part  of  the  top  is 
turned  (Fig.  93).  After 
turning  the  bead  and 
the  straight  portion  at 
the  extreme  top,  shape 
the  piece  as  shown  in  Fig.  92.  Gouge  on  Side. 


84 


ELEMENTARY  TURNING 


Fig.  94.     It  is  very  important   that   this   be   done 
properly,  so  that  there  will  be  no  need  of  touching 

the  flat  part, 
F,  Fig.  95,  after 
the  curve  C  has 
been  turned. 

Work   the 
upper    end    of 


Fig.  93.     Top  Bead  Turned. 

the  long  curve 
as  shown  in 
Fig.  95,  and 
then  rough  the 
main  part  of 

the  Curve  with     Fi9-  94-     Ovolo  Turned. 

the  roughing 
gouge.  Finish 
the  long  curve 
with  the  1- 
inch  skew 

chisel  to   the 
Fig.  95.     Cavetto  Turned.  f Qrm  gh()wn  jn 

Fig.  89.     This  piece  may  be  sandpapered,  but  need 
not  be  polished. 

LESSON  XXV 
-       PORCH   SPINDLE 

This  pattern  of  spindle  is  often  used  on  porches, 
and  should  be  made  of  pine  or  other  soft  wood.  The 
usual  lengths  of  such  spindles  are  8  inches  and  10 


ELEMENTARY  TURNING 


inches.     The    square    portion 
little  longer  than  at  the  top. 


at    the    bottom   is    a 
The  diameter  of  the 


Fig.  96.     Porch  Spindle. 

bottom  bead  is  nearly  as  great  as  can  be  turned  from 
the  piece.  The  diameter  of  the  top  bead  is  consid- 
erably less 
than  the  size 
of  the  square 
portion. 

Cut  in  at 
each  end  and 
finish  the  cor-  Fi^97-    Beads  Spaced. 
ners  (Figs.  76  and  77).     Rough  the  central  part  to 
as  near  the  desired  size  as  you  can  with  the  rough- 

ing    gouge 

(Figs.  20  and 
78),  and 
smooth  each 
end  with  the 
skew  chisel. 
Mark  all 


Fig.  98.     Beads  Turned. 


spaces,     as 


shown  in    Fig.  97,  with   the   chisel  point.     Review 


86  ELEMENTARY  TURNING 

what  is  said  in  Lesson  22  about  marking  spaces  on 
square  pieces  (Fig.  75). 

Turn  the  cove  and  bea'd  at  the  bottom  end  first, 
and  then  turn  those  at  the  top,  as  shown  in  Fig.  98. 

Finish  the  long  curve  with  the  skew  chisel  to  the 
shape  shown  in  Fig.  96.  This  spindle  should  be 
turned  smooth  enough  for  a  paint  finish  without 
sandpapering. 

LESSON  XXVI 
PLAIN   BOX 

Select  a  piece  of  stock  enough  longer  than  the 
height  of  the  box  to  allow  for  waste.  For  boxes 
made  from  If -inch  squares,  there 
will  usually  be  about  1J  inches 
of  waste.  Center  the  poorest 
end  carefully,  and  if  it  is  not 
square  with  the  sides,  make  it 
square,  either  by  sawing,  plan- 
ing, or  chiselling,  before  screwing 
it  on  to  the  chuck. 

Be  careful  to  bore  the  hole 
the  correct  size  so  that  the  screw 
will  hold  as  much  as  possible. 
Fig.  99.  Plain  Box.  If  you  put  some  tallow  or  lard 
into  the  hole  before  screwing  the  piece  on  to  the 
chuck,  you  will  not  only  have  less  difficulty  about 
turning  it  up  tight,  but  it  will  hold  very  much  more. 


ELEMENTARY  TURNING 


87 


Be  sure  that  it  is  so  tight  against  the  face  of  the 
chuck  that  it  will  not  spring  sidewise  the  least  bit. 

Set  the  rest  as  shown  in  Fig.  100.  The  top  of  the 
rest  should  be 
level  with  the 
lathe  center, 
and  the  end 
close  to  the 
chuck. 

Turn  the 
piece  to  a  cyl- 
inder, rolling 
the  gouge  so 
it  will  cut 
close  up  to 


the    chuck, 


Fig.  101.     Turning  Inside  of  Box 
Cover. 


Fig.  100.   Blank  on  Screw  Chuck  (See  Fig.  113). 

similar  to  Figs.  20  and 
77.  Do  not  attempt  to 
smooth  it,  except  with 
the  roughing  gouge. 

Set  the  rest  as  shown 
in  Fig.  101,  and  turn  the 
end  for  the  inside  of  the 
cover.  To  do  this,  use  a 
gouge  at  first.  The  gouge 
should  be  held  so  that  it 
will  cut  a  shaving,  but  not 
so  that  it  will  catch  in  the 
side  of  the  piece.  Begin 


88 


ELEMENTARY  TURNING 


at  the  center  and  move  it  carefully  towards  the  edge 
nearest  to  you.  As  it  nears  the  outer  part  of  the 
curve,  roll  it  so  that  the  corner  will  not  catch  (Figs. 

101,  114,  and  126).  It  will 
cut  quite  rapidly  when  prop- 
erly held. 

Finish  the  curved  portion 
with  the  round  nose  scrap- 
ing tool,  as  shown  in  Figs. 
102  and  128.  The  scraping 
tool  is  held  flat  on  the  rest 
and  quite  horizontal.  It  is 
moved  from  the  center  to- 
wards the  front  side.  This  tool 
dulls  very  rapidly,  because 
the  wood  passes  at  a  right 
angle  to  its  edge.  The  scrap- 
ing tool  is  not  a  cutting  tool,  and  should  be  used 
only  for  finishing.  It  should  be  kept  sharp,  which 
means  that  it  must  be  sharpened  very  often.  Read 
what  is  said  in  Part  III 
about  sharpening  scrap- 
ing tools. 

Cut  the  square  portion, 
H,  Fig.  103,  with  the  acute 
angle  of  the  skew  chisel, 
holding  it  as  shown  in  Fig. 
104.  This  part  must  be  made  carefully  or  the  cover 
will  not  fit  properly.  If  it  is  not  square  and 


Fig.  102.    Smoothing  Inside 
of  Box  Cover. 


Fig.  103.     Cutting  a  Rebate. 


ELEMENTARY  TURNING 


89 


sufficiently  deep,  the  cover  will   not   stay  in  place 
while  you  finish  the  outside. 


Fig.  104.     Cutting  Rebate. 

Fig.  103  indicates  the  position  of  the  skew  chisel 
in  cutting  the  rebate  in 
the  cover.  The  heavy 
lines  indicate  the  posi- 
tion of  the  chisel  in  cut- 
ting the  outer  surface 
and  the  dotted  lines  in- 
dicate the  position  at 
which  the  chisel  should  be 
held  in  squaring  the  bot- 
tom of  the  rebate.  Before 
completing  this  end,  hold 
the  skew  chisel  against 
the  edge  of  the  cover  rim, 
making  it  very  smooth 
and  square  (Fig.  105). 


Fig.  105.   Squaring  End  of  Cover. 


90 


ELEMENTARY  TURNING 


^Sandpaper  and  polish  the  curved  portion,  being 
very  careful  not  to  touch  the  square  corners  with 
either  sandpaper  or  shellac.  If  you  do  get  any 
shellac  into  the  groove  or  on  to  the  end,  carefully 
scrape  it  off  after  the  interior  of  the  cover  has  been 
polished. 

Start  the  curve  for  the  top  with  the  skew  chisel 
and  cut 'the  cover  from  the  remainder  of  the  piece 
with  the  parting  tool.  This  tool  will  cut  either 

straight  into 
the  piece  or  at 
an  angle.  As 
this  cover  is 
not  to  have  a 
knob,  hold  the 
parting  tool  as 
shown  in  Fig. 
106. 

Turn  a  re- 

Fig.  106.     Cutting  Off  Cover.  foate  to   receive 

the  cover,  first  cutting  with  the  point  of  the  skew 
chisel,  as  shown  in  Fig.  39,  and  then  lay  the  chisel 
flat,  as  shown  in  Fig.  107.  Be  careful  to  have  the 
cover  fit  very  tight,  for  it  is  to  be  turned  on  the 
outside  after  being  put  in  place.  See  that  the 
shoulder  is  square,  and  that  the  cover  fits  so 
tightly  that  there  is  no  space  at  the  surface  where 
the  two  pieces  join. 

Place  the  cover  in  position,  and  finish  the  out- 


ELEMENTARY  TURNING 


91 


side,  polishing  the  box  on  the  side  and  end.  Where 
the  cover  joins  on  to 
the  box,  the  wood 
may  be  too  thin  to 
work  in  the  ordinary 
way.  If  it  is,  lay  the 
chisel  flat  and  scrape 
it  to  size,  as  in  smooth- 
ing the  end  (Fig.  105) 
and  the  curve  (Fig. 
211).  It  will  be  neces- 
sary to  scrape  the 
rounded  part  of  the 

f  -c     4-1,        Fig.  107.     Cutting  Rebate. 

cover;     for,    if    the 

chisel  is  used  in  the  ordinary  way,  it  will  shove  the 

cover  off. 

The  gouge  may 
be  used  in  finish- 
ing the  top  of  the 
cover,  as  in  turn- 
ing the  bead  (Fig. 
53)  and  the  cover 
(Fig.lll).  Be  sure 
to  have  the  top  of 
the  cover  smooth 
before  applying 
the  shellac. 


Fig.  108.     Box  Ready  for  Polishing. 


Before  polishing  the  outside  of  the  box,  cut  a 
small  groove  about  J  inch  deep  at  the  place  where 


92 


ELEMENTARY  TURNING 


you  expect  to  cut  the  box  off,  after  it  has  been 
finished  (Fig.  108). 

After  polishing  all  the  outside,  remove  the  cover 
and  cut  the  rebate  a  little  deeper,  so  that  the  cover 
will  go  on  easily.  Cut  out  the  inside  and  polish, 
being  careful  to  smooth  the  bottom.  Use  the  gouge 
and  scraping  tool  for  this  work  the  same  as  in  hollow- 
ing the  inside  of  the  cover  (Figs.  101  and  102). 
If  the  box  is  large  or  deep,  the  rest  may  be  set  as 
in  Fig.  114. 

After  finishing  and  polishing  the  inside,  cut  the 
box  from  the  chuck  with  the  parting  tool.  Write 
your  name  on  a  slip  of  paper  and  glue  it  to  the 
inside  of  the  box. 

The  stub,  remaining  on  the  screw,  may  be  used 
for  a  napkin  ring,  as  in  Fig.  167,  or  it  may  be  re- 
moved from  the  screw  and  placed 
on  an  arbor,  as  in  Fig.  174. 

LESSON  XXVII 
BOX  WITH   KNOB 

This  box  is  worked  in  the 
same  manner  as  the  one  riot 
having  a  knob,  except  that  in 
cutting  the  cover  off,  the  part- 
ing tool  is  held  at  an  angle,  as 
shown  in  Fig.  110.  This  is  to 
Fig.  109.  Box  with  Knob,  save  material  for  the  knob. 


ELEMENTARY  TURNING 


93 


After  the  cover  has 
knob  must  be 
turned.  To 
turn  the  knob, 
use  the  gouge 
as  shown  in 
Figs.  53  and 
111.  This  po- 
sition tends  to 
hold  the  cover 


been   fitted   to   place,   the 


Fig.  111.     Turning  a  Knob. 


Fig.  110.     Cover,  with  Knob  Being  Cut  Off. 

in  place  because  of  the 
pressure  of  the  back  of 
the  gouge  against  the 
top.  Take  very  light 
shavings,  and  work 
carefully. 

After  turning  the 
knob  finish  the  outside 
and  the  inside  the  same 
as  the  plain  box  in 
Lesson  26. 


LESSON  XXVIII 

PLAIN   GOBLET 

For  turning  a  small  goblet  the  blank  is  secured 
to  a  screw  chuck  the  same  as  the  blank  for  the  box 
(Lesson  26).  Usually  the  blank  is  just  long  enough 


94 


ELEMENTARY  TURNING 


for  the  goblet,  so  that  the  end  of  the  blank  next  the 
chuck  will  become  the  bottom  of  the  goblet  as  in 
Fig.  115.  This  saves  some  work 
and  material,  and  makes  the 
turning  easier;  because  the 
shorter  the  piece,  the  easier  it 
can  be  turned.  If,  however,  the 
blank  proves  to  be  too  long,  it 
can  be  cut  off  the  same  as  the 
box  shown  in  Fig.  108  or  the 
goblet  in  Fig.  122. 

Be  very  careful  to  have  the 
piece  screwed  on  so  tightly  that 
it  will  not  spring  away  from  the 
facing  in  the  least.  Set  the  tee 
rest  as  in  Fig.  113,  also  see  Fig. 
100,  and  rough  the  blank  down 
to  a  cylinder.  Stop  the  lathe 
The  blank  may 


Fig.  112.     Gobkt. 

and  examine  the  piece  carefully. 

have  been  resting  at   

the  corners,  and  now 
that  they  have  been 
cut  away,  the  piece 
may  require  tighten- 
ing. Set  the  rest  as 
in  working  the  in- 
side of  the  box  cover 
(Fig.  101)  and  shape 
the  inside  of  the 


Fig.  113.     Rounding  a  Blank. 


ELEMENTARY  TURNING 


95 


bowl,  also  square  the  end  as  shown  in  Fig.  105. 
Sometimes  the  tools  will  cut  better,  if  the  end  of 
the  rest  is  set  into  the  bowl,  as  shown  in  Fig.  114. 
The  inside  should  be  turned  very  smooth,  using  first 
the  gouge  and  then  the  round  nosed  scraping  tool. 
Be  sure  that  the  scraping  tool  is  very  sharp. 

You  will  need  to  use  quite  coarse  sandpaper  at 
first.  No.  1J  will  probably  be  the  best  grade,  unless 
the  goblet  is  very 
large  and  of  a 
coarse  wood.  If 
it  is,  use  a  little 
of  No.  2  sand- 
paper. Hold  the 
paper  so  it  will 
not  spoil  the 
edge  or  rim  of 
the  bowl.  To 
avoid  this,  you 
may  need  to  tear  Fi9-  n*-  Rest  InsUe  °f Bowl 
the  paper  to  J-size  or  perhaps  even  smaller.  Be 
sure  to  smooth  the  bottom  end  of  the  bowl,  and 
also  to  sandpaper  down  any  ridges  on  the  inside. 

Finish  the  inside  entirely,  including  the  polish- 
ing, for  it  is  not  best  to  attempt  to  polish  the  inside 
after  turning  the  outside  of  the  bowl.  Each  time 
a  part  is  polished,  it  should  be  so  well  done  that  it 
will  not  be  necessary  to  touch  it  again,  for  after  the 
outside  of  the  bowl  is  finished  it  is  too  thin  to  be 


96 


ELEMENTARY  TURNING 


polished  on  the  inside;  and  aft^r  the  stem  has  been 
turned  the  bowl  will  probably  revolve  a  little  out  of 
true,  and  the  outside  cannot  then  be  polished. 

The  next  part  of  the  work  is  to  turn  and  polish 
the  outside  of  the  bowl,  polishing  it  to  the  small 
shoulder,  S,  Fig.  115.  The  reason  for  working  to  the 
point,  S,  is  that  the  square  corner  at  this  point  is  a 
good  place  at  which  to  join  the  two  parts  of  the  finish. 
After  the  outside  of  the  bowl  has  been  polished, 

turn  the  base 
and  stem.  Be 
very  careful 
not  to  allow 
your  tool  to 
slip  and  spoil 
the  base. 
Smooth  the 
outer  edge  of 
Fig.  1U.  Goblet  Bowl  Polish.  the  base  with 

the  skew  chisel.  Make  several  marks  with  the  point 
of  the  chisel  to  assist  in  starting  the  gouge,  which 
should  be  held  as  shown  in  Fig.  116.  Be  sure  to 
have  the  edge  of  the  base  so  thick  that  the  pressure 
of  the  back  of  the  gouge  will  not  break  the  edge. 

Turn  the  large  curve  with  the  gouge  in  the  same 
manner  as  you  turned  the  1-inch  cove.  "  Use  such 
tools  in  turning  the  stem  as  the  pattern  requires. 
Polish  the  base  and  the  stem,  and  then  remove  the 
goblet  from  the  chuck. 


ELEMENTARY  TURNING 


97 


After   the   goblet   has   been  removed  from   the 
chuck,   the  bottom  may  be  rubbed  on  a  sheet  of 


Do 


Fig.  116.     Turning  Base  of  Goblet. 

sandpaper,  laid  on  the  bench  or  a  flat  board, 
not  rub  the  bottom  surface 
much,  or    the   edge   will  be 
injured. 

LESSON  XXIX 
GOBLET  WITH  RINGS 

If  rings  are  to  be  turned 
about  the  stem  of  the  goblet, 
they  are  worked  from  the 
material  that  is  ordinarily 
cut  away.  In  turning  the 
outside  of  the  bowl  leave  as 
much  material  for  the  rings 
as  you  can.  Compare  Fig. 
115  with  Fig.  118.  Fig. 117.  Goblet  with  Rings. 


98 


ELEMENTARY  TURNING 


To  turn  the  rings,  first  turn  beads,  and  then  use 
the  ring  tools  on  each  side,  as  shown  in  Figs.  198  and 

295.  Gradually 
work  around 
each  ring,  until 
it  is  nearly  cut 
from  the  piece. 
If  there  is  but 
one  ring,  it  may 
be  worked  en- 
tirely with  the 
skew  chisel,  as 
shown  in  Fig. 

Fig.  118.     Goblet  Bowl  Polished.  154        Jf     there 

are  several  rings  the  ring  tools  will  be  required. 
Sandpaper  and  polish  the  rings  carefully,  as  shown  in 
Fig.  119  and  then,  by  using  the  ring  tools,  cut  the 
rings  entirely  free. 
After  the  first 
set  of  rings  has 
been  cut  loose,  an- 
other set  may  be 
made,  as  shown  in 
Fig.  120;  and  after 
these  have  been  fin- 
ished, yet  another 

Set    may  be    made.      Fig.  119.     Goblet  Rings  Polished. 

By    making  rings   small   and   close   together,    a 
large  number  may  be  cut  on  one  goblet.     Before 


ELEMENTARY  TURNING 


99 


cutting  off  the  second  set  of  rings,  turn  as  much  of 
the  base  and  stem  as  you  can  in  order  to  make  room 
for  the  rings  when  loosened. 

Figs.  120 
and  121  show 
how  to  hold 
the  rings  with 
one  hand, 
while  turning 
the  base  and 
stem  with  the 
o^her  hand. 
Fig.  121  also 
shows  the 
groove  made 

, .  Fig.  120.     Turning  Base  of  Goblet  (See  Fig.  116}. 

in  starting  to 

cut  the  goblet  from  the  chuck. 

The  blank  for  this  goblet  was  too  long  for  the 

size  of  the  top,  therefore  it  was  necessary  to  cut  it 

off,    as    shown 
in  Fig.  122. 

In  using  the 
parting  tool  in 
such  a  place, 
start  the  cut 
with  the  point 
of  the  skew 
chisel  to  avoid 

Fig.  121      Turning  Between  Rings.  roughing      the 


100  ELEMENTARY  TURNING 

edge.  Hold  the  chisel  at  such  an  angle  as  will  cause 
the  goblet  to  rest  on  the  outer  edge  of  the  base.  By 
cutting  a  wide  space,  the  bottom  of  the  base  may  be 
sandpapered  to  near  the  center  before  cutting  it  off. 
In  cutting  off  a  piece  of  this  shape,  it  is  better 
to  cut  well  in  from  the  surface  with  the  acute  point 
of  the  skew  chisel,  leaving  only  a  small  part  to  be 


Fig.  122.     Cutting  Goblet  from  Chuck. 

cut  with  the  parting  tool.  If  there  is  plenty  of 
room,  the  piece  may  be  cut  entirely  off  with  the 
skew  chisel.  This  will  make  a  .better  finished  bottom. 
In  either  case  it  may  be  sandpapered  after  being 
removed  from  the  lathe. 

After  the  goblet  has  been  removed  from  the 
chuck,  the  inside  of  the  rings  should  be  smoothed 
with  the  knife  and  sandpaper,  and  then  polished  by 
hand. 


ELEMENTARY  TUFTING-  |j        !  »,  101 

LESSON  XXX 
A  ROSETTE 

Rosettes  are  made  in  many  designs.  They  are 
usually  held  on  a  screw  chuck  while  being  turned. 
Fig.  124  illustrates  the 
blank  in  place,  and  the 
turning  gouge  cutting 
the  outer  edge.  If  the 
blanks  have  been  care- 
fully sawed  to  shape 
on  a  band  saw,  the 
outer  edge  will  not 
require  much  turning. 
If  they  have  been  cut 
to  shape  by  simply 
sawing  the  corners  off 


Fig.  123,     Hosette. 

with  a  hand  saw  or  a 
back  saw,  as  in  Fig.  259, 
there  will  be  danger  of 
breaking  the  gouge,  if 
the  piece  is  of  hard 
wood,  unless  you  work 
very  carefully.  If  the 
edge  is  very  rough  or 
the  wood  very  hard, 
hold  the  gouge  nearer 
on  a  level  so  that  it  will 

Fig.  124.    Turning  Edge  of  Rosette,     not  Cut  too  deeply. 


102  , 


TURNING 


Turn  from  each  edge  towards  the  center,  rolling 
the  gouge,  as  shown  in 
Figs.  124  and  125. 

Whether  the  face 
surface  of  the  rosette 
should  be  turned  with 


Fig.  126.     Turning  Face  of 
Rosette. 

should  use  a  roughing 
gouge  for  the  general 
outline,  and  then  shape 
the  parts  with  the 
turning  gouge,  finish- 
ing with  the  round  end 
scraping  tool  and 
firmer  chisel.  Fig.  271 
shows  how  the  rough- 
ing gouge  is  held. 


fig.  125.     Turning  Edge 
of  Rosette. 

the  roughing  gouge 
or  a  turning  gouge 
will  depend  upon 
the  pattern.  For 
this  design  you 


Fig.  127.     Scraping  with  Chisel. 


ELEMENTARY  TURNING 


103 


Fig.  126  shows  how  the  turning  gouge  is  held  to 
make  it  cut  instead  of  scrape.  Before  attempting  to 
use  the  turning  gouge 
in  this  manner,  refer  to 
Figs.  231,  232,  and  233. 

Scraping  tools 
must  be  used  to  finish 
the  surfaces,  both  at 
the  edge  and  on  the 
face. 

Figs.  127  and  128 
show  how  these  tools 
are  held.  Figs.  102, 
171,  and  211  show 

Other    positions    of       Fig.  1 28.     Scraping  with  Round 

scraping  tools  in  use.         Nosed  Tool. 


SUPPLEMENTARY   EXERCISES 

PART  II 
INTRODUCTION 

The  thirty  lessons  cover  substantially  all  the 
ordinary  uses  of  wood  turning  tools.  More  difficult 
problems  are  easily  suggested,  yet,  for  the  time 
usually  devoted  to  turning,  it  is  not  advisable  to 
undertake  the  more  difficult  problems. 

For  those  who  are  more  apt  in  this  line  of  work, 
or  who  wish  to  devote  more  than  the  ordinary  time 
to  this  subject,  additional  exercises  are  given. 
There  are  also  a  variety  of  designs  which  may  sug- 
gest other  problems  and  combinations  requiring  no 
additional  directions. 

It  is  better  to  execute  the  exercises  in  this  part 
in  their  given  order,  yet,  by  a  thorough  use  of  cross 
references,  a  pupil  who  has  completed  Part  1  should 
be  able  to  make  any  of  these  articles  properly. 
Until  all  the  work  in  Part  1  has  been  completed,  no 
attempt  should  be  made  to  do  any  of  the  work  in 
Part  2. 

NUMBER  I 

TOOL  HANDLE 

Tool  handles  may  be  made  from  pieces  which  are 
too  small  for  regular  exercises,  or  out  of  pieces  which 
have  been  accepted  as  exercises  and  then  discarded. 


106 


ELEMENTARY  TURNING 


Usually  the  piece  is  turned  with  the  roughing 
gouge  to  the  general  outline,  as  shown  in  Fig.  130. 
With  the  point  of  the  skew  chisel  (Fig.  39)  the  length 

of  the  space  for  the 
ferrule  is  marked. 
The  end  is  then 
turned  to  a  size 


Fig.  189.     Tool  Handle.  that    will    allow     of 

the  ferrule  being  driven  to  place. 

Turn  the  conical  part,  which  is  next  to  the  fer- 
rule, using  the  roughing  gouge  and  the  skew  chisel. 
With  the  turning 
gouge  (Fig.47)  turn 
the  small  curve. 
Work  the  main  part 
of  the  handle  to 
Size  With  the  rough-  **•  1*>.  Tool  Handle  RougM. 

ing  gouge  (Fig.  13).  Finish  the  handle  to  the  shape 
shown  in  Fig.  131,  using  the  skew  chisel  the  same 
as  in  finishing  the  body  of  Fig.  89. 

After  t  h  es 
handle  has  been 
sandpapered  and 
polished,  as 
shown  in  Fig.  131, 
carefully  cut  the 
stub  end  off  with 


Fig.  131.     Tool  Handle  Sandpapered. 


the  skew  chisel  while  the  piece  is  in  the  lathe.     Do 
this  so  that  there  will  be  no  roughness  on  the  end  of 


ELEMENTARY  TURNING 


107 


the  handle.  There  should  be  no  stub  end  at  the 
dead-center  bearing. 

Another  method  of  making  a  handle  is  to  work 
several  places  to 
near  the  finished 
size,  as  indicated 
by  Fig.  132.  The 
measurement  I 
should  be  made 
as  given  in  draw- 
ing, Fig.  133.  The 
parting  tool  is 
used  for  the  cut- 
ting or  scraping, 
and  the  calipers 

i       t          Fig.  132.     Tool  Handle  Sized. 

are     used     for 

measuring  the  diameters.  The  ]5iece  is  then  worked 
to  size  by  carefully  cutting  with  the  roughing  gouge 
to  the  bottom  of  the  grooves  made  by  the  parting 


Fig.  133.     Tool  Handle. 

tool.     The   handle    is    then    finished    in    the    same 
manner  as  first  described. 

Fig.    129    illustrates    an    ordinary    file    handle. 
Handles  are  made  of  all  sorts  of  shapes  and  sizes, 


108 


ELEMENTARY  TURNING 


and  of  many  kinds  of  wood.  The  cheaper  grades  of 
file  handles  are  of  soft  wood.  Chisel  handles  should 
always  be  made  of  hard  wood.  Apple  wood  is  often 
used  for  firmer  chisel  handles.  Socket  chisel  handles 

for  heavy  work 
are  often  made 
from  hickory. 
Sometimes  they 


Fig.  134.     Leather  Topped  Handle.  are     fitte(j 

an  iron  ferrule  at  the  top  end,  similar  to  the  ring  on 
the  mallet  (Fig.  150). 

Handles  which  are  to  be  struck  with  a  mallet  may 
be  flat  at  the  top  end,  and  have  two  or  three  thick- 
nesses of  

leather  glued 
or  nailed  to 
the  end,  so 
as  to  hinder 


the    mallet    Fig.  135.     Socket  Chisel  Handle. 
from  splitting  the  handle.     Fig.  134  shows  a  handle 
of  this  kind  for  a  tanged  firmer  chisel.     Handles  for 
socket  chisels  may  also  have  leather  tops. 

Fig.  135  illustrates  a  handle  of  fancy  pattern  for 
a  socket  chisel.  These  handles  are  not  to  be  struck 
with  a  mallet. 


ELEMENTARY  TURNING 


109 


NUMBER  II 
GAVEL 

The  essential  features  of  a  gavel  are  that  the  ends 
cf  the  head  should  be  rounding  in  shape,  and  that 
it  be  made  of  wood  from  a  hard,  sono- 
rous variety,  and  of  a  pleasing  design. 


Fig.  136.     Gavel. 

Turn  the  head  of  the  gavel  first, 
being  particular  to  finish  the  wood  so  that  it  will 
take  a  very  high  polish.  Be  sure  to  select  stock  long 
enough  to  allow  for  waste,  at  each  end,  as  shown  in 
Fig.  137.  Usually,  there  should  be  a  longer  stub  of 

waste  at  the  spur 
center  than  at  the 
dead-center. 

Outline  the  pat- 
tern, as  shown  in 
Fig.  138.  Finish  the 
central  portion  of 


Fig.  137.     Gavel  Roughed  to  Shape. 


the  pattern  first,  and 
then    work   toward 


the  ends,  finishing  the  rounded  ends  last.  These 
will  require  very  careful  scraping  in  order  to  finish 
properly.  Hold  the  chisel  while  scraping  as  shown 


110 


ELEMENTARY  TURNING 


in  Figs.  105,  127,  and  211.     After  the  piece  has  been 

polished,  it  will  appear  as  in  Fig.  139. 

In  cutting  the  stub  end  off,  leave  enough  material 

to  sandpaper  thoroughly  so  that  each  end  will  be 

free  from  any 
roughness  or  marks 
caused  by  the  tools. 
To  sandpaper  the 
ends,  lay  a  piece  of 
sandpaper  on  the 
bench,  and  rub  the 
gavel  on  the  paper. 

Fig.  138.     Pattern  Outlined.  Uge    coarge    gand_ 

paper  at  first  in  order  to  cut  the  end  down  to  an 
even,  rounding  surface.  After  removing  the  rougher 
places,  finish  the  work  by  holding  the  sandpaper  in 
the  palm  of  your  hand.  Finish  with  paper  so  fine 
that  the  ends  will 
take  a  polish 
equal  to  the  other 
parts  of  the  gavel. 
Examine  the 
head  carefully 
and  plan  to  have 
the  handle  located  Fi9- 139-  Heod  Finished  in  Lathe- 
so  as  to  give  the  best  effect.  Place  the  head  in  the 
vise  with  a  block  at  each  end,  as  shown  in  Fig.  140. 
Bore  the  hole  nearly  through,  being  careful  to  make 
it  straight  and  at  right  angles  to  the  surface. 


ELEMENTARY  TURNING 


111 


Select  a  piece  for  the  handle,  and  turn  it  as 
indicated  in  Fig.  141,  having  the  larger  end  near 
the  live-center.  First  round  the  piece  the  entire 
length,  and  then  fit  the 
end  next  to  the  dead- 
center  into  the  hole 
bored  in  the  head  of 
the  gavel".  Determine 
the  length  and  turn  the 
large  end.  Finish  the 
central  portion  (Fig. 
142),  and  then  carefully 
polish  all,  except  the 
part  which  enters  the 
head.  Glue  the  handle 

to  place. 

n        ,  , ,       Fig.  140.    Gavel  Head  in  Vise. 

Gavels  vary  greatly 

in  size.       No.  136  is  3J  inches  long  and  2|  inches  in 
diameter.    The  handle  is  9  J  inches  long  and  |f  inches 


Fig.  141.     Handle  Roughed  Out. 

in  diameter  at  the  large  end.     The  hole  in  the  head 
for  the  handle  is  ^  inch  in  diameter. 


112 


ELEMENTARY  TURNING 


No.  144  is  2|  inches  long  and  1J  inches  in  diam- 
eter.   The 
handle    is 
9  inches 

Fig.  142.     Handle  Polished,  long    and 

f  inches  in  diameter  at  the  large  end.     The  hole  in 
the  head  is  7-16  inch. 


NUMBER  III 
GAVEL  PATTERNS 

These  patterns  represent  a  variety  of  possible 
forms  for  gavels.  Study  them  carefully,  and  then 
work  out  a  design  of  your  own.  Follow  the  plan 
outlined  in  making  number  136  by  first  planning 
the  length,  then  working  the  center, 
and  lastly  turning  the  ends. 


Fig.  143.     Gavel. 


Fig.  144.     Gavel 


ELEMENTARY  TURNING 


113 


Fig.  145.     Gavel 


Fig.  146.     Gavel. 


Fig.  147.     Gavel. 


NUMBER  IV 
CARPENTER'S  MALLET 

The  carpenter's  mallet  is  worked  in  the  same 
manner  as  the  gavel  (Fig.  136).  Such  mallets  vary 
greatly  in  size.  The  one  shown  in  Fig.  149  is  5 
inches  long,  and  2}  inches  in  diameter.  The  handle 
is  10  inches  long,  including  the  2  inches  in  the  head, 
It  is  If  inches  in  diameter  at  the  large  end  and  f 
inches  in  diameter  in  the  head. 


114 


ELEMENTARY  TURNING 


Mallets  for  such  use  should  be  plain  and  larger 
at  the  center  than  at  the  ends.     There  should  be  no 
deep  markings  or  grooves  in  the  head 
near  either  end,  for  such  a  breaking 


Fig.  149.     Carpenter's  Mallet.   -  „ 

of  the  surface  will  cause  the  splitting 
of  the  mallet. 

The  two  dark  bands  in  Fig.  149  are  not  deep-cut 
beads.  They  were  made  by  cutting  very  small 
grooves  at  each  edge  of  each  band  and  holding  the 
end  of  a  stick  against  the  surface  while  the  lathe 

was    in    motion,   until    

the  surface  of  the  wood 
was  darkened. 

The  handle  should 
not  have  any  ring, 
shoulder  or  other  break 
in  the  surface  at  the 
end  near  the  head,  for 

such  a  design  will  cause    Fia- 15°-    Mallet  with  Iron 
the  strain  when  in  use,  to  concentrate  at  one  point 
which  will  soon  cause  the  handle  to  break. 

For  heavy  work,  mallets  have  iron  rings  to  keep 
the  wood  from  splitting.  The  ends  should  be  cut 


ELEMENTARY  TURNING 


115 


down  to  receive  the  rings.  The  wood  should  extend 
out  beyond  the  ring  so  that  as  the  mallet  is  used  it 
will  batter  over  the  ring  and  hinder  it  from  coming 
off,  otherwise  the  ring  will  jar  off  in  use.  The  rings 
should  be  heated  and  shrunk  on.  Fig.  150  shows  the 
mallet  head  with  the  ring  on  one  end  and  the  space 
ready  for  the  ring  at  the  other  end. 

Carpenter's  mallets  are  made  from  box-wood, 
hickory,  maple  and  similar  woods.  Sometimes  a 
very  tough  knot  or  knurl  is  used  for  a  mallet. 


Fig.  151. 
Mallet. 


Carver's 


NUMBER  V 
CARVER'S  MALLET 

Figs.  151  and 
152  show  two  de- 
signs for  carver's 
mallets.  The 
usual  sizes  are 
indicated  by  the 
drawing,  Fig.  153. 
No  special  direc- 
tions are  required 
for  making  them. 
The  bottom  or 
large  end  should 
be  straight  across 
so  that  they  will 
stand  on  end 
when  not  in  use. 


Fig.  152.    Carver's 
Mallet. 


116 


ELEMENTARY  TURNING 


fig.  153.     Carver's  Mallet. 


,1 

•4 


Molder's 
Rammer. 


NUMBER  VI 

HOLDER'S   RAMMER 

Fig.  154  illustrates  a  molder's  ram- 
mer. This  should  be  made  from -hard 
wood,  maple  being  one  of  the  best  for 
this  purpose.  Cheaper  woods,  such  as 
beech,  may  be  used.  The  sizes  given  in 
the  drawing  (Fig.  155)  are  for  a  rammer, 
suitable  for  use  by  pupils  in  the  high 
school. 

First,  turn  the  piece  to  a  cylinder; 
next,  cut  away  the  central  portion, 
making  the  handle.  Finish  the  ends, 
round  all  the  corners,  sandpaper  and 


—4 H. r- 


Fig.  155.     Molder's  Rammer. 


oil  the  entire  surface, 
lathe,  and  then 
finish  the  ends 
(Fig.  156). 
Lay  out  the 


ELEMENTARY  TURNING  117 

Remove  the  piece  from  the 


long     end,     and    Fig.  156.     Turning  for  Holder's  Rammer. 
saw  and  plane  it  to  the  finished  shape,  as  shown 
in  Fig.  154. 


NUMBER  VII 
DARNING  BALL  AND   DARNING  HEMISPHERE 

The   darning  ball    (Fig.    157)    and   the   darning 

hemisphere  (Fig. 
159)  should  be 
finely  finished, 
especially  on  the 
large  hemispher- 
ical ends.  The 
sizes  may  vary. 
Those  given  in 

Fig.  157.     Darning  Ball. 


Fig.  158.    Darning  Ball. 


118 


ELEMENTARY  TURNING 


the  drawings  (Figs. 
158  and  160)  are  of 
the  average  size.  The 
wood  used  should  be 
of  a  close,  hard  grain. 
Maple,  cherry,  apple, 
etc.,  are  suitable. 


Fig.  159.     Darning  Hemisphere. 


Fig.  160.     Darning  Hemisphere. 


NUMBER  VIII 

GLOVE   MENDER 

This  glove  mender 
should  be  made  from 
hard  wood,  and  about 
4J  inches  long.  The 
ends  should  be  of  a  size 

to  fit  the  glove  fingers.    It  should  be  very  carefully 

smoothed. 


Fig.  161.    Glove  Mender. 


ELEMENTARY  TURNING 


119 


NUMBER  IX 
PLAIN   RING 

This  exercise  is  given  to  show  a  method  of  mak- 
ing a  ring  without  the  use  of 
special  tools.  Fig.  163  shows  a 
piece  which  was  cut  from  the 
bottom  of  a  box. 

A  f-inch  hole  was  bored 
through  the  center  of  the  piece, 
and  it  was  forced  on  to  an  arbor. 
Read  what  is  said  about  arbors 

Fig.  162.     Plain  Ring.      in  Part  m> 

Turn  the  outside  of  the  ring  in  the  same  manner 
as  an  ordinary  bead  is  turned  (Figs.  23  and  33). 
With  the  skew  chisel  held  as  shown  in  Fig.  164 


Fig.  163.     Ring  Blank  on  Arbor  for  Turning. 

scrape  around  towards  the  inside  of  the  ring  from 
both  the  right  and  the  left  sides. 


120 


ELEMENTARY  TURNING 


In  this  manner  shape  the  ring,  until  it  is  nearly 
severed  from  the  waste  material.     Polish  the  ring 

carefully,  reaching  as 
far  inside  as  you  can. 

•|M^/'/y  After  the  ring  has 

been  polished,  cut  it 
Bta^l  entirely  free,  holding 
the  chisel  the  same 
as  in  Fig.  164.  Rings 
may  be  made  on  the 
stems  of  goblets  in 
this  manner.  Smooth 
and  polish  the  inside 
of  the  ring  by  hand, 


Fig.  164.     Turning  the  Ring. 
after  removing  it 
from  the  lathe. 

To  finish  the  ring- 
on  the  inside,  it  may 
be  placed  in  a  chuck, 
as  shown  in  Fig.  165. 
After  one  side  has 
been  polished,  reverse 
the  ring  and  polish 
the  other  side. 

Instead  of  using 
the  "cut  and  try" 
method  of  making  the 
hole  in  the  chuck,  you 
may  set  the  inside 


Fig.  165.    Ring  in  Chuck. 


ELEMENTARY  TURNING 


121 


calipers  and  hold  them  as  shown  in  Fig.  263.  Do 
not  attempt  to  touch  them  to  the  chuck  while  it  is 
in  motion. 

NUMBER  X 
NAPKIN   RING,   FIRST  METHOD 

Napkin  rings  may  be  made  of  many  shapes  and 
sizes.     The  scraps  of  wood  left  from  regular  exer- 
cises, boxes,  etc.,  can    be  used   for 
making  them.     The  larger  sizes  are 
made   about   2  inches   in  diameter. 


Fig.  166. 
Napkin  Ring. 

Usually  the  grain  of 
wood  should  be  par- 
allel with  the  axis  of 
the  ring,  but  some- 
times it  may  be  at 
right  angles  to  the 
axis. 

Only  pieces  quite 

.free  from   defects 

should    be    used,    for 


Fig .167.  Ring  Turned  on  Screw  Chuck. 


122 


ELEMENTARY  TURNING 


when  the  ring  has  been  turned  to  shape,  it  is  so  thin 

that  a  small  check  is  quite  likely  to  cause  it  to  break. 
The    outside,   inside,    and    one 

end  may  be  turned  on  the  screw 

chuck,  as  shown  in  Fig.  167.     This  6; 

is  the  piece  left  after  turning  the 

box  (Figs.  99  and  108). 

After   completing   the    ring    as 

shown  in  Fig.  167,  fasten  a  piece 

of  pine  to  an  iron  face-plate  (Fig. 

278),  using  at    least   four  screws. 

Be  careful  to  locate  the  screws  so 

that  they  will   not  be  in  the  way    Fig.  168.    Section  of 

of   the   tools  in  making  the  place       Napkin  Ring  in 
for   the  ring.       <**<»•«*• 

Turn  the  opening  in  this 
block  just  large  enough  to  re- 
ceive the  ring.  In  making  the 
opening  in  the  chuck  for  the 
ring,  be  careful  to  not  only 
have  it  fit  tightly  at  the  cir- 
cumference, but  also  at  the 
inner  end.  If  you  are  partic- 
ular to  have  a  good  bearing  at 
the  end,  as  indicated  at  B,  Fig. 
168,  there  will  be  much  less 
difficulty  about  the  piece  run- 
ning true.  It  is  not  necessary 

that  the  hole   in    the  face-plate  be  deep.      It    is 


Fig.  169.     Napkin  Ring 
in  Cup  Chuck. 


ELEMENTARY  TURNING 


123 


sufficiently  deep  if  it  admits  the  ring  beyond  the 
center  of  the  first  bead. 

If  both  ends  are  to  be 
chucked,  be  careful  to  fit 
the  hole  to  the  smaller  end 
first.  See  that  the  ring  is 
held  firmly  and  that  it 
revolves  true. 

Fig.  169  shows  the  ring 
in  the  chuck.  Set  the  rest 
as  in  Fig.  170,  and  then 
bore  out  the  inside  with  the 

r>    •   i  •  -j.1       ,1         Fiq.170.  Borinq  Napkin  Rinq. 

gouge,    finishing    with    the 

skew  chisel,  held  as  shown  in  Fig.  171.  The  skew 

chisel  may  be  used  as  a 
scraping  tool ,  on  the  in- 
side of  the  ring,  if  the 
rest  is  placed  so  that  the 
edge  of  the  chisel  is  a 
little  above  the  center  of 
the  ring.  If  it  is  below 


Fig.  171.    Skew  Chisel  Smoothing 
Ring. 


the  center,  it  is  likely  to  enter    Fig^  ra     Pohshing  Ring 
too  deeply  into  the  wood.  'on  Arbor. 


124 


ELEMENTARY  TURNING 


Finish  this  end  by  sandpapering  and  polishing 
it  completely.  Reverse  the  ring  and  refinish  the 
other  end. 

If  in  chucking,  the  finish  on  the  outside  should 
be  injured,  the  ring  may  be  placed  on  an  arbor,  as 
shown  in  Fig.  172,  and  refmished. 

NUMBER  XI 
NAPKIN   RING,   SECOND  METHOD 

Instead  of  screwing  a  blank 
on  to  a  screw  chuck,  it  may 


Fig.  173.     Napkin  Ring.         Fig.    174.     Napkin  Ring  Blank. 


Fig.  175.    Outside  of  Napkin  Ring 
Finished. 


be  placed  on  an  arbor 
the  same  as  the  plain 
ring,  Fig.  163.  It  is 
not  necessary  that  the 
blank  be  cylindrical. 
Fig.  174  shows  a  blank 
in  place.  The  tools 
must  cut  lightly  to 
avoid  causing  the 


ELEMENTARY  TURNING 


125 


arbor  to  turn  in  the    hole.      Turn   the   piece  to  a 
cylinder,  cut  the    ends    square,  and 
then  shape  the  pattern; 

Fig.  175  shows  the  outside  of  a 
ring  finished,  and 

the  piece  ready  to 

be  removed  from 

the  arbor   and 

placed  in    a   cup 

chuck.    It  is  then 


Fig.  177.    Beaded 
Napkin  Ring. 


Fig.  176.     Plain 
Napkin  Ring. 


finished  the  same  as  Fig.  169. 

Figs.  176  and  177  show  other 
designs  for  napkin  rings. 


NUMBER  XII 
VISE   HANDLE 


Select  a  piece  of  straight  grained  hardwood,  12J 
inches  long,  and  turn  the  end,  as  shown  in  Fig.  179. 
Move  the  rest  and  turn  the  other  end,  as  shown  in 


Fig.  178.     Vise  Handle. 

Fig.  180.  Bore  a  hole  in  a  block  and  force  it  on  to 
the  end,  as  shown  in  Fig.  181.  Turn  the  block  to 
shape,  completing  the  handle.  Sandpaper  all,  and 


126 


ELEMENTARY  TURNING 


Fig,  179.    One  End  of  Vise  Handle  Finished. 

cut  the  handle  out  of  the  lathe,  the  same  as  the  tool 
handle  (Fig.  129).  Fig.  178  shows  the  completed 
handle. 

After   the   handle   has   been   placed  in   the  iron 
at  the  end  of  the  vise  screw,  glue  the  wooden  knob 


Fig.  180.     Handle  Ready  for  Knob  Blank. 

to  place.  Do  not  use  any  brad  in  the  knob.  In 
order  to  make  the  handle  from  smaller  stock,  dealers 
sometimes  turn  both  balls  separate  from  the  bar. 


Fig.  181.    Knob  Blank  in  Place. 


ELEMENTARY  TURNING 


127 


NUMBER  XIII 
WOODEN   SCREW 

For  wooden  hand  screws,  two  kinds  of  screws 
are  required.  The  back  screw,  shown  in  Fig.  1C2, 
and  the  shoulder  screw  having  a  square  shoulder 
next  the  handle,  as  shown  in  Fig.  183. 


Fig.  182.     Back  Screw  for  Wooden  Hand  Screw. 

About  the  only  wood  suitable  for  these  screws 
is  straight-grained  hickory. 

Finish  the  handle  first.  Re-set  the  tee  rest  and 
finish  the  other  end  the  same  as  in  making  the 
vise  handle  (Figs.  179  and  180). 


Fig.  183.     Turning  Wooden  Blank  for  Screw. 

The  part  on  which  the  thread  is  to  be  cut  must 
be  smooth  and  of  correct  size.     By  holding  the  hand, 


128 


ELEMENTARY  TURNING 


as  in  Fig.  183,  the  piece  can  be  smoothed  with  the 
skew  chisel.  Test  the  piece  carefully  with  the 
calipers.  It  should  be  of  the  same  size  as  the  smooth 


Fig.  184.     Cutting  the  Threads  for  a  Wooden  Screw. 

part  of  the  hole  in  the  screw  box,  which  is  to  be 
used  in  cutting  the  thread. 

Do  not  use  any  sandpaper  on  the  part  of  the 
piece  which  is  to  be  threaded.     Start  the  thread 


ELEMENTARY  TURNING 


129 


by  hand,  and  then  place  the  piece  in  the  lathe. 
Put  the  belt  on  a  slow  speed.  Remove  the  rest, 
so  that  if  the  screw  box  becomes  stuck,  it  will  not 
be  injured  by  striking  the  rest.  Move  the  shifter 
just  enough  to  cause  the  piece  to  revolve  slowly 
(Fig.  184).  Some  tallow  thoroughly  rubbed  on 
the  wood  will  cause  the  screw  box  to  cut  a  smoother 
thread. 


NUMBER  XIV 
LARGE   BOX 

This  box  differs  from  those  shown  in  Figs.  99 
and  109,  not  only  in  the  shape  of  outline,  but  also 
in  the  fitting  of  the 
cover.  The  cover  is 
turned  in  a  manner 


Fig.  186.     Inside  and  Bead  of  Cover 
Polished. 

similar  to  the  one  shown  in  Les- 
son 27,  the  difference  being  that 
the  inside  is  a  simple  curve,  and 
Fig.  185.    Box.  tne    shoulder   for    fitting-  against 

the  top  of  the  box  is  on  the  outside,  as"  shown  in 
Fig.  186. 


130 


ELEMENTARY  TURNING 


The  large  bead  at  the  top  end  of  the  box  and  the 
rounded  edge  of  the  cover  are  to  obscure  this  joint. 

The  inside  of 
this  cover  and 
also  the  bead 
should  be  pol- 
ished before  the 
cover  is  cut  from 
the  box.  The  end 
of  the  box  should 
be  polished  before 
the  cover  is  put 
in  place,  because 
of  the  difficulty  in 
polishing  tih!e 
small  groove  be- 
tween the  end  of 
the  box  and  the 
cover,  after  the 
cover  is  on  the 
box. 

This  is  a  large 
box,  being  made 
of  4-inch  stock, 
and  you  should 
do  most  of  the 
work  with  the 
skew  chisels  and 
gouges  rather 


Fig.  187.     Turning  the  Bead  on  the  Cover. 


.ELEMENTARY  TURNING 


131 


than  with  scraping  tools, 
position  for  using     ______ 

the  skew  chisel  in 
turning  the  large 
end. 

Fig.  188  shows 
the  cover  in  place, 
the  outside  pol- 
ished, and  the 
groove  at  the  base 
where  the  box 


Fig.  187  shows  a  good 


Fig.  188.     Box  and  Cover  Polished. 


Fig.  189.     Working  Out  the  Inside  of  a  Box. 


132 


ELEMENTARY  TURNING 


will  be  cut  off.  Fig.  189  shows  the  position  of  the 
rest  and  the  gouge  in  boring  the  inside.  Notice 
that  the  gouge  is  rolled  towards  the  left  so  that  it 
will  not  dig  into  the  work. 

In  removing  the  waste  from  the  interior  j)f  a 
box  of  this  size,  usually  the  J-inch  gouge  can  be 
used.  When  this  gouge  is  used,  the  rest  is  generally 
set  square  across,  as  shown  in  Fig.  189,  yet  it  may 
be  set  as  in  turning  the  light  goblet  (Fig.  114). 

Unless  the  gouge  is  so  light  that  it  springs,  the 
rest  had  better  be  set  square  across. 

This  box  is  large  enough  to  receive  a  very  nice 
polish  on  both  inside  and  outside. 


NUMBER  XV 
BOXES 

There  is  opportunity  for  a  very  great  diversity 
of  form  and  size  in  the  designs  of  boxes.  Some  may 
have  their  covers  tightly  fitted  as  shown  in  Figs. 


Fig.  190.     Box. 


Fig.  191. 


ELEMENTARY  TURNING 


133 


99  and  109;  others  may  have  covers  as  in  Fig.  185 
or  191.  The  body  of  the  box  may  be  straight, 
curved,  or  ornamental.  After  examining  these 
designs,  make  a  design  of  your  own. 


Fig.  192, 


Fig.  193. 


NUMBER  XVI 

CANDLESTICKS 

Although  candlesticks  of  wood  are  not  very 
useful,  yet  they  are  excellent  exercises  in  turning. 
They  may  be  supplied  with  a  metallic  top. 

Usually,  in  making  the  candlestick  it  is  more 
convenient  to  turn  the  parts  separately,  finishing 
them  completely,  including  polishing,  before  putting 
them  together. 

The  base  may  be  fastened  to  an  iron  face-plate 
and  finished,  as  shown  in  Fig.  195.  The  hole  is 
bored  the  same  as  in  making  the  box,  Lesson  26. 
If  you  wish  to  finish  the  under  side  of  the  base,  it 


134 


ELEMENTARY  TURNING 


may  be  placed  in  a  wooden  chuck,  the  same  as  the 
ring  (Fig.  165);  or  the  napkin  ring  (Fig.  169);  or 

the  pin  tray  (Fig.  227). 

Care  must  be  taken  to 
locate  the  screws  so  that  they 
will  enter  the  thick  portion  of 
the  base,  or  they  will  interfere 
with  the  turning. 

The  stem  is  turned  on  the 
center  the  same  as  the  exer- 
cises in  Part  I.  Fig.  196 
shows  the  piece  outlined,  and 
Fig.  197  shows  it  finished. 

The  joint  at  the  base  may 
be  hidden  by  a  bead  as  in 


Fig.  194.    Candlestick  with 
Handle. 

Fig.  194,  or  it  may  be  shaped 
as  shown  in  Fig.  199  or  203. 
The  hole  at  the  top  for  the 
candle  is  usually  bored  with 
a  Forstner  bit  after  all  other 
work  on  the  candlestick  has 
been  completed.  The  hole 
may  be  started  while  the 
piece  is  in  the  lathe.  For 
this  purpose  use  either  a 
small  turning  gouge  or  a 
turning  chisel.  Sometimes- 


Fig.  195.     Base  for  a 

Candkstick. 


ELEMENTARY  TURNING 


135 


a  ring  for  a  handle  is  placed  on  the  side,  as  shown 

in  Fig.  194.     The  ring  is   turned  and  finished  on 

an   arbor,   as 

shown  in  Fig. 

198.      This 

ring  is   too 

small    to     be     Fig.  196.     Candlestick  Stem  Outlined. 

turned  easily  with  the  skew  chisel,   therefore,  the 
special  ring  tools  are  used,  as  shown  in  Figs.  198 

and  295.  These 
tools  may  be  of 
various  forms  and 
sizes,  as  described 


Fig.  197.     Candlestick  Stem  Finished.  in  Part  3. 

After  the  ring  has  been  polished  as  much  as 
possible  on  the  arbor,  cut  it  entirely  loose,  and  finish 
it  by  hand  or  in  a 
chuck,  as  shown  in 
Fig.  165.  Fit  with  a 
knife  where  it  joins 
the  base  and  the  stem. 
Scrape  the  finish  off 
wherever  the  parts 
join  so  that  glue  will 
hold  properly,  and 
glue  it  to  place. 

In  turning  candle-    F*' 198-    Turninff  a  Smal1  R™9- 
sticks,  similar  to  Fig.  199,  the  base  is  turned  on  a  chuck 
the  same  as  shown  in  Fig.  195.    The  stem  is  roughed 


136 


ELEMENTARY  TURNING 


out  between  centers,  and  the  joint  carefully  made  by 

holding  the  tools 
as  shown  in  Figs. 
206  and  207.  The 
stem  is  then  glued 
to  place,  and 
turned  on  the 
face-plate.  The 
joint  must  be 
thoroughly  sized 
with  glue  before 
putting  together, 


Fig.  199.     A  Low  Candlestick. 


NUMBER  XVII 
DESIGNS  FOR  CANDLESTICKS 


Fig.  200. 


Fig.  202. 


ELEMENTARY  TURNING  137 

By  studying  the  four  designs  on  the  preceding 
page,  and  Nos.  194  and  199,  you  ought  to  be  able  to 
make  an  original  design. 


NUMBER  XVIII 

HAT  RESTS 

The  hat  rest,  shown  in  Fig.  204,  may  be  made  by 
turning  the  base  on  a  face-plate,  the  same  as  the  base 
of  the  candlestick,  Fig.  195. 

The  top  should  be  turned  on  an  arbor,  similar  to 

the  napkin  ring,  Fig. 

174.    The  stem  may 

be    turned    on    the 

centers  the  same  as 

the  first  exercises  or 

the  candlestick  stem 

(Figs.  196  and  197), 

and  the  ends  fitted 

to  the  holes  in  the 

base  and  top. 

After  each  part 

is  completed,  all 
Hat  Rest.    should  be  ^  ^  Fig.  90S.  Hat  Rest. 

gether.  If  the  hat  rest  is  to  be  made  in  this 
manner,  there  may  be  beads  or  some  similar  curves 
at  the  joints  so  that  any  variations  will  not  be 
noticeable,  as  in  the  candlestick,  Fig.  194. 


138 


ELEMENTARY  TURNING 


Another  method,  and  one  which  may  be  used  for 

such  designs  as  Fig.  205, 
is  to  rough  out  all  the 
parts  and  fit  them  to- 
gether. The  piece  for. the 
.top  should  be  roughed 
to  shape  on  an  arbor. 
In  squaring  down  the 
end,  the  skew  chisel 
may  be  held  as  shown 

Fig.  206.     Jointing  Side  of  Blank.      in  Fig.  206. 

To  finish  the  surface,  the  skew  chisel  should  be 
held  as  in  Fig.  207,  and  a  very  light  cut  should  be 
taken. 

Regular  scraping  tools,  if 
they  are  at  hand,  should  be 
used  for  facing  these  pieces. 

The  stem  should  be 
roughed  to  the  shape  shown 
in  Fig.  208. 

The  ends  should  be  care- 
fully formed.  The  surface 
which  forms  the  joints  must  be  very  well  turned,  or 

the  joint  will  show 
badly  after  the 
parts  are  polished. 
The  base  should 
be  secured  to  a 


Fig.  207.     Jointing  Side  of 
Blank. 


Fig.  208.     Stem  for  Hat  Rest. 


face-plate,    the 


ELEMENTARY  TURNING 


139 


Base 
Roughed  Out. 


same  as  the  base  in  Fig.  195  or  Fig.  258.     The  edge 

must  first  be  turned,  using  the  gouge  as  in  Fig.  125 

or  126.     No  attempt  should  be  made  to  scrape  these 

.surfaces,  for  the  gouge  will  again  be  used  on  them, 

after  the  parts  have  been  glued 

together. 

The  face  of  the  base' should  be 

turned  with  the  roughing  gouge, 

as  in  Fig.  271,  and   then  a  hole 

bored    for    the    pin   which    is    to 

extend  entirely  through  the  piece. 

You  may  find  it  of  advantage  to 

use  longer  screws  in  fastening  the 

blank  to   the  face-plate,  so    that 

you    can    block   it    away   from    the   face-plate    by 

placing  strips  about  J  inch  or  f  inch  thick  between 

the  base  block  and  the  iron. 

After  the  hole  has  been  finished,  turn  the  base 

to  the  form  shown 
in  Fig.  209. 

Glue  the  three 
pieces  together, 
clamping  them 
with  strong  cl  amps, 
as  shown  in  Fig. 

Fig.  210.     Parts  Clamped.  210 

In  making  such  joints  in  pieces  to  be  turned, 
the  end  grain  and  the  side  grain  should  be  thoroughly 
sized  with  glue  before  gluing  together,  so  that  in 


140  ELEMENTARY  TURNING 

turning  the  grain  will  not  be  torn  or  broken  at  the 
joint.  If  the  sizing  is  properly  done,  the  joint  can 
be  turned  after  drying  as  perfectly  as  if  it  were  one 
piece. 

You  must  plan  to  preserve  the  centers  on  the 
stem,  so  that  they  can  be  used  after  gluing.  The 
spur  center  will  not  hold  so  strongly  as  the  screws 

in  the  face-plate, 
therefore  you  must 
be  very  careful  in 
turning  the  base  and 
top  after  the  parts 
have  been  glued. 

Fig.  211.    Hat  Rest  Outlined.  The  firgt  thing  to 

do  after  the  parts  have  been  joined,  is  to  go  over 
the  entire  pattern,  turning  each  part  to  nearly  the 
finished  size.  Fig.  211  shows  the  piece  nearly  to 
size,  and  also  shows  how  the  chisel  is  held  to  scrape 
the  face  of  a  curve. 

To  form  the  long  curve,  work  carefully  from 
each  end.  The  top  and  bottom  parts  should  be 
nearly  finished  before  turning  the  stem.  Fig.  205 
shows  the  finished  hat  rest. 


ELEMENTARY  TURNING 


141 


NUMBER  XIX 
COMBINING  WOODS 

To  combine  woods  for  ornamental  turning  does 
not  require  a  great  deal  of  skill.  The  object  should 
be  to  combine  them  so  that  the  effect  will  be  pleas- 
ing rather  than  novel. 

There  are  two  ways  usually  employed  in  prepar- 
ing such  work  for 
turning.  The  one 
more  often  used,  and 
probably  the  better, 
is  to  glue  together 
thin  boards  of  two 
or  more  varieties  of 
wood,  making  a 
block  sufficiently 
large  to  allow  of 


ripping    across    the 
glue  joints  after  the    F*-  21®-    Combining  Woods. 
boards  are  all  in  place.     This  will  result  in  a  block 
'having  a  cross  section  as  indicated  in  Fig.  212. 

The  block  is  then  ripped  across  the  glue  joints, 
as  indicated  by  the  vertical  lines,  making  a  number 
of  boards  equal  in  thickness,  after  being  smoothed, 
to  the  thickness  of  those  first  used.  These  pieces  are 
reversed  and  glued  together,  making  a  block.  The 
end  of  this  block  will  be  a  series  of  exact  squares,  as 
shown  in  Fig.  213,  if  the  work  has  been  properly  done. 


142 


ELEMENTARY  TURNING 


Unless  the  pieces  are  all  made  of  exactly  the 
same  thickness,  the  squares 
will  not  meet  exactly,  and 
the  turned  piece  will  not  look 
well  when  finished. 

The  joints  must  be  very 
perfect,  or  they  may  open 
after  the  piece  has  been 
finished.  This  blank  is  then 
Fig.  213.  Combining  Woods,  turned  in  the  lathe  to  some 
shape  that  will  show  the  combined  woods  to  the 
best  advantage.  Fig.  214  is  an  illustration  of  a 
goblet  made  in  this  manner. 

Another  method  is  to  select 
a  piece  for  the  central  portion 
and  glue  to  it  such  shaped 
pieces  as  are  desired.  The 
pieces  may  be  of  almost  any 
shape  or  size, 
but  should 
be 


in    pairs 


or  groups,  so 

that  the  object,  after  being  turned, 
will  show  a  well  defined  pattern. 
In  all  this  work,  be  very  careful 
to  have  the  pieces  of  exact  size 
Fig.  215.  Fancy  Box.  and  their  surfaces  in  perfect  con- 
tact. In  the  box,  Fig.  215,  the  small  pieces  were 
glued  around  a  central  piece. 


ELEMENTARY  TURNING 


143 


NUMBER  XX 
DESIGNS   FOR  GOBLETS 

Although  the  wooden  goblet  is 
more  ornamental  than  useful,  yet  as 
a  turning  exercise,  it  is  quite  valu- 
able. The  following  designs  will 
suggest  many  others. 


Goblet. 


Fig.  217.     Goblet. 


Fig.  218.     Goblet. 


Fig.  219.     Goblet. 


144 


ELEMENTARY  TURNING 


NUMBER  XXI 
KNIFE  AND   FORK  REST 

This  article  is  a  very  good  exercise  to  illustrate 

the  -use  of  a  templet.     Read  what  is  said  in  Part  2 

in  regard  to  the 
making  of  temp- 
lets, and  make  one 
for  the  piece  you 

Fig.  220.    Knife  and  Fork  Rest.  are   about   to    turn. 

If  you  have  any  doubt  in  regard  to  the  size  which 

you  will  be  able  to  make  from  the  blank,  turn  it  to. 

a  cylinder  and  space  it,  as  shown  in  Fig.  221,  and 

then  calculate   the 

sizes  for  the  templet. 
Rough  the  piece 

so  it  will   nearly  fit 

the  templet,   using    Fig.  221.    Rest  Backed  Out. 

the  roughing  gouge  in  the  center  (Figs.  20  and  78), 
and  chisels  on  the  balls  (Figs.  23,  33,  53,  and  54). 
Finish  the  piece  by  scraping  (see  Figs.  127,  128,  and 

211). 

As  the  scrap- 
v  B|    ing  will    tear  the 

wood,  unless  the 
Fig.  222.     V sing  a  Templet.  chisel     is    very 

sharp  and  is  cutting  but  a  very  little,  you  will  need 
to  work  carefully  and  keep  your  tools  very  sharp. 


ELEMENTARY  TURNING 


145 


If  when  the  piece  is  fitted  to  the  templet  there  is 
yet  torn  grain,  the  smoothing  of  it  will  injure  the 
shape  of  the  piece.  Hold  the  templet  as  shown  in 
Fig.  222.  Do  not  press  it  against  the  work  while 
in  motion. 

You  must  also  be  very  careful  about  the  sand- 
papering or  it  will  change  the  curves  so  that  they  will 
not  be  correct.  In  trimming  the  ends  you  must 
also  allow  for  smoothing  with  coarse  sandpaper, 
or  there  will  be  a  flat  place  made  which  will  seriously 
injure  the-  appearance  of  the  balls. 


NUMBER  XXII 
PIN  TRAY 

The  making  of  the  pin  tray  illustrates  a  method 
applicable  to   the   making  of  many  small  articles. 

The  reason  for  using  a 
spur  chuck,  Fig.  275,  in- 
stead of  a  screw  chuck  or 
of  gluing  a  piece  to  the 
chuck  with  paper  between, 
is  to  save  time  and  trouble. 

See  that  the  blank  has 
been  sawed  nearly  to  size 
before  placing  it  on  the 
chuck  (Fig.  224).  Turn 
the  edge  and  a  little  of  Fig,  223.  Pin  Tray. 
10 


146 


ELEMENTARY  TURNING 


each  surface  near  the  edge  with  the  tee  rest  set  as 
in  Fig.  225.     Use  the  tool  as  in  Figs.  125  ancTl26. 

Before  sandpapering  the 
edge,  set  the  rest  as  in  Fig.  226, 
and  turn  nearly  all  of  the  inside, 
using  the  tools,  as  in  Figs.  126, 


Fig.  224.     Pin  Tray  Blank 
on  Chuck. 

127,  and  128.  Remove 
the  rest,  and  then  sand- 
paper and  polish  the 
edge  and  a  little  of 
each  side. 

After  the  edge  has    Fi9-  225-    Pin  T™y>  Edw  Turned. 
been  polished,  place  the  piece  in  a  chuck,  as  shown 
in  Fig.  227,  and  then  finish  the  bottom.     The  last 

step  is  to  reverse  the  piece 
in  the  chuck  and  finish  the 
center  and  the  inside. 

If  the  edge  is  marred 
while  in  the  cup  chuck,  the 
tray  may  be  placed  on  the 
spur  chuck,  using  the  small 
holes  as  at  first,  and  then 
Fig.226.  Pin  Tray,  Inside  Turned,  refmish  the  edge.  A  block 


ELEMENTARY  TURNING 


147 


should  be  placed  between  the 
end  of  the  dead- center  and 
the  finished  inside  surface. 


NUMBER  XXIII 

TURNED   FRAMES 

Fig.  227.    Pin  Tray  in 
Cup  Chuck.  Frames,    either    square,    as 

shown  in  Fig.  228,  or  round,  as  shown  in  Fig.  229, 
may  be  turned  on  the  face-plate.  They  should  be 
securely  fastened  by  using  four  screws  the  same  as 

in    securing    r_  .    .  .        . ^_  . .    .    .. 

the  wooden 
facing  for  the 
screw  chuck, 
Fig.  268,  the 
candlestick 
base,  Fig. 
195,  or  the 
blank  for 
the  molding, 
Fig.  259. 

Some- 
times  frames 
are  held  only 
by  a  central 
screw  the  Fig-  %®8-  Square  Frame. 


^ 


148 


ELEMENTARY  TURNING 


same  as  the  rosette  (Fig.  125).    This  will  be  sufficient 

to  hold  them,  if 
care  is  exercised 
in  doing  the  turn- 
ing. For  the  first 
attempt  you  had 
better  use  the 
four  screws. 

If  the  frame  is 
to  be  square,  it 
should  be  of  an 
even  thickness 
before  placing  it 

Fig.  229.     Round  Frame.  On    the    chuck,  SO 

that  there  will  be  no  need  of  doing  more  work  with 
the  turning  tools  than  to  cut  the  circular  opening. 

If  the  blank  is  so 
large  that  the  screws 
from  the  holes  in  the 
iron  face-plate  would 
enter  the  part  which 
is  to  be  cut  out,  first 
fasten  to  the  face-plate 
a  larger  wooden  facing, 
and  then  secure  the 
frame  to  this,  as  in 
Fig.  230. 

Be  very  careful  in 
placing  the  frame  on  Fig.  230.  Frame  Blank  on  Face-plate. 


ELEMENTARY  TURNING 


149 


the  chuck  so  that  the  opening 

center.     A  good 

way  to  center  the 

piece   is   to   locate 

the  center  by  either 

of    the    methods 

shown    in     Fig.    2 

or  3. 

Place  the  face- 
plate  on  the 
spindle,  and  crowd 
the  blank  for  the 
frame  against  it  by 
moving  the  tail- 
screw  against  the 
center  of  the  blank, 


can  be  cut  from  the 


Fig.  232.     Using  Gouge  on  Frame. 


si;ig  Gouge  on  Frame. 

Mark  the .  position 
of  the  blank,  and 
after  removing  the 
fade-plate  from  the 
lathe,  fasten  the 
blank  to  place  with 
the  screws.  Fig. 
230  shows  the 
blank  in  place  and 
the  diagonal  lines 
used  in  locating 
the  centers.  It 
also  shows  the 


150 


ELEMENTARY  TURNING 


small  center  made  at  the  intersection  of  the  lines 
by  the  end  of  the  dead-center. 

The  opening  should  be  worked  with  the  gouge, 
holding  it  as  shown  in  Figs.  231,  232,  and  233.  First 
hold  the  gouge  as  in  Fig.  231,  being  careful  to  roll 
it  so  that  it  will  not  ru'n  towards  the  outside  edge  of 
the  frame.  The  principle  which  governs  its  action 
is  the  same  as  in  starting  the  cove  (Fig.  47).  If  the 

cutting  edge  lies  in  the 
circle,  it  will  not  tend 
to  run  either  way,  but 
will  cut  freely  and 
rapidly. 

After  starting  the 
opening  at  the  outer 
edge,  reverse  the  gouge 
and  cut  from  the 
center,  as  in  Fig.  232. 
Do  not  remove  a 
Fig.  233.  Using  Gouge  on  Frame.  ]arger  amount  of  ma- 
terial than  is  needed  to  form  the  curve;  the  remain- 
ing waste  material  at  the  center  will  fall  out  as  the 
gouge  cuts  through  to  the  chuck. 

After  the  opening  has  some  depth,  the  gouge 
may  be  held  at  a  greater  angle,  as  shown  in  Fig.  233. 
If  you  are  careful  to  hold  the  gouge  properly,  the 
curve  will  be  shaped  in  a  very  few  minutes. 

Be  very  cautious  to  keep  your  hands  and  cloth- 
ing away  from  the  corners  of  the  revolving  piece. 


ELEMENTARY  TURNING 


151 


After  the  frame  has  been  shaped  with  the  gouge, 
finish  the  curves  with  the  scraping  tools  (Figs.  102 
and  128).  Do  not  touch  the  surface,  which  is  to 
remain  flat,  with  any  of  the  lathe  tools. 

After  the  center  has  been  removed,  and  the  curve 
properly  finished  by  scraping,  sandpaper  the  curve. 
Do  not  allow  any  sandpaper  to  touch  the  flat  facs. 
Remove  the  tee  rest,  and  then  hold  the  sandpaper 

as  shown  in  Fig.  234.    By  _ 

holding  one  hand  with 
the  other,  you  will  avoid 
the  danger  of  your  hand 
slipping  and  being  hit  by 
the  corners  of  the  frame. 
Entirely  finish  the  turned 
parts  before  removing  the 
frame  from  the  face-plate. 
.  The  opening  may  be 
cut  only  a  part  of  the 
way  through,  and  the 
mirror  or  picture  be  held 
in  place  by  using  a  small  reed,  as  shown  in  Fig.  228; 
or  it  may  be  cut  entirely  through,  and  the  picture  or 
glass  placed  against  the  back,  as  shown  in  Fig.  229. 

If  a  space  at  the  back  is  desired,  first  secure  the 
frame  to  the  face-plate  with  screws,  passing  into  the 
waste  material.  After  the  back  opening  has  been 
finished,  reverse  the  piece,  and  work  from  the  face 
side.  An  easy  way  to  center  the  piece  for  reversing 


Fig.  234.     Using  Sandpaper  on 
Frame. 


152 


ELEMENTARY  TURNING 


is  to  bore  a  small  hole  through  the  center,  and  with 
the  dead-center  in  this  hole,  force  the  piece  to  place. 
After  the  piece  has  been  removed  from  the  face- 
plate,   finish   the   face   and   edges   by   using   plane, 


Fig.  235.     Square  Frame,  Finished. 

scraper,  and  sandpaper,  and  then  polish  the  same 
as  the  turned  part.  The  round  frame  (Fig.  229) 
is  made  in  the  same  manner,  except  the  edge  which 
is  turned  the  same  as  the  rosette  (Figs.  125  and  126). 


ELEMENTARY  TURNING  153 

The  face  also  may  be  finished  in  the  lathe. 
There  will  then  be  no  hand  finishing  to  do  after  the 
frame  is  removed  from  the  lathe.  It  is  betfer  to 
finish  the  flat  surface  parallel  with  the  grain  of  the 
wood,  after  removing  the  piece  from  the  lathe. 


NUMBER  XXIV 

CHAIR   LEGS 

Fig.  236  illustrates  a  typical  form  of  chair  leg. 
The  principles  involved  in  turning  chair  legs  do  not 
differ  any  from  those  learned  in  turning  the  first 


Fig.  236.     Square-topped  Chair  Leg.  - 

twenty  exercises.  Fig.  237  shows  the  general  ar- 
rangement of  the  lathe  for  turning  long  work,  and 
also  the  position  of  the  hands  and  the  body. 

In  roughing  long  pieces,  it  is  usually  best  to 
begin  near  the  dead-center  and  turn  down  but  a 
little  at  a  time,  as  shown  in  Fig.  238.  Each  time 
begin  a  little  farther  to  the  left,  and  finish  a  little 
of  the  cylinder  at  the  right. 

Fig.  239  shows  the  method  of  working  the  pattern. 
First,  turn  the  piece  to  the  general  outline,  then 


154 


ELEMENTARY  TURNING 


Fig.  237.     Position  in  Roughing  Long  Piece. 


ELEMENTARY  TURNING 


155 


begin  at  the  end,  usually  at  the  top  end,  and  work 
out   the    pattern. 
The    completed 
leg    is    shown    in 
Fig.  236. 

Fig.  240  shows 
a  design  in  which 
there-  is  a  square 
part  to  receive 
the  rungs.  For 
such  legs  the  Fig.  238.  Roughing  Gouge  on  Long  Piece. 
rungs  or  rails  should  be  of  rectangular  section. 


Fig.  239.    Chair  Leg  Outlined. 


Fig.  240.    Chair  Leg  with  Square  Section. 


Fig.  241.     Chair  Leg. 

Fig.  241  shows  a  typical  form  of  leg  for  use  in 
wood  bottom  chairs.  The  number  of  rungs  used 
must  be  considered  in  determining  the  pattern. 


156 


ELEMENTARY  TURNING 


NUMBER  XXV 

CHAIR  RUNGS  AND   SPINDLES 

The  lighter  parts  of  chairs,  such  as  rungs  or 
stretchers  and  spindles  are  somewhat  difficult  to 
turn,  because  the}7  spring  so  easily.  To  avoid  the 


Fig.  242.     Chair  Rung. 

springing,  first  turn  the  piece  to  a  cylinder  the  entire 
length  (Fig.  243),  and  then  turn  the  center  of  the 
piece  as  shown  in  Fig.  244;  the  piece  may  be  steadied 
by  the  hand  as  shown  in  Fig.  183. 


Fig.  243.     Chair  Rung  Roughed  to  a  Cylinder. 

Finish  the  ends,  turning  the  parts  for  the  tenons 
to  near  the  finished  size.  Hold  the  sizer  as  shown 
in  Fig.  245,  and  size  the  tenons.  If  the  piece  tapers 


Fig.  244.    Chair  Rung  Center  Turned. 

to  the  tenon,  it  will  be  necessary  to  finish  down 
to  the  tenon  with  the  skew  chisel  after  using  the 
sizer. 


ELEMENTARY  TURNING 


157 


If  the  live-center  is  larger  than  the  finished  size 
of  the  tenon,  there  will  be  a  small  stub  as  shown  in 

Fig.  242.     This  must  be 

split  off  with  a  knife  after 
the  piece  has  been  re- 
moved from  the  lathe. 

In  planning  the  design 
for  a  rung  or  spindle,  be 
very  particular  to  avoid 
any  deep  cuts  near  the 


center. 


Fig.  245.     Using  the  Sizer. 


Fig.  246.     Spindle. 


Fig.  247.     Plain  Spindle 

Figs.  246  and  247  show  two  st3Tles  of  spindles. 
The  same  general  plan  is  followed  in  turning  them 
as  in  turning  the  legs  and  the  rungs  of  a  chair. 


NUMBER  XXVI 

FOOTSTOOL   LEGS 

In  designing  footstool  legs  as  in  all  other  design- 
ing, try  to  have  a  fair  idea  of  the  form  which  you 
wish  to  make  before  commencing  to  shape  the 
material. 


158 


ELEMENTARY  TURNING 


You  should,  if  possible,  have  a  sufficiently  definite 

idea  of  the 
design  you 
are  to  make 
to  allow  of 
first  outlining 


Fig.  248.    Foot-tjol  Leg.    Size  of  stock  11  inches 
square  by  8  inches  long. 

shown   in  Fig. 
249. 

The  next 
step  is  to  turn 
each  end  as 
shown 


the  piece,  as 


in 


Fig. 


Fig.  249.     First  Step  in  Turning  Footstool  Leg. 

250.  This 
method  will 
help  you  to 
proportion 

Fig.  250.  Second  Step  in  Turning  Footstool  Leg.  the  various 
parts.  Finish  by  turning  the  long  curve,  completing 
the  design,  as  shown  in  Fig.  248. 


NUMBER  XXVII 
DESIGNS   FOR  FOOTSTOOL   LEGS 

Figs.  251,  252,  and  253  suggest  a  variety  of 
patterns  for  footstool  legs.  See  also  Figs.  236,,  240, 
248,  and  254. 


ELEMENTARY  TURNING  159 

Do  not  attempt  to  copy  any  of  them,  but  study 
carefully  each  one,  and  then  work  out  a  design  of 
your  own.  Remember  that  good  designs  are  usually 
simple,  and  that  a  few  elements  properly  combined 
are  far  better  than  many  carelessly  brought  together. 


Fig.  251.  Fig.  252.  Fig.  253. 

Footstool  Legs. 

One  of  the  facts  most  difficult  to  realize  in  turn- 
ing is,  that  a  very  slight  change  in  a  curve,  or  in  the 
proportion  of  parts  will  change  a  piece  from  ugliness 
to  beauty.  In  working  out  a  design  at  first  use  a 
wood  easily  turned.  Pine  or  basswood  is  probably 
the  best  wood  to  use.  You  can  usually  begin  at 
the  end  nearest  the  live-center  and  make  this  end 
the  top  end  of  the  leg. 


160  ELEMENTARY  TURNING 

Unless  there  is  some  good  reason  for  doing  dif- 
ferently, follow  the  general  plan  described  in  turn- 
ing Fig.  248. 

Unless  you  are  more  successful  than  most  turners, 
you  will  need  to  try  several  times  before  making  a 
good  original  design.  All  designing  of  similar  shaped 
pieces  follows  this  general  plan.  After  you  have 
completed  the  design  and  know  exactly  what 
shape  you  wish,  you  can  plan  such  an  order  in  the 
use  of  tools  as  will  result  in  the  greatest  speed. 


NUMBER  XXVIII 

FOOTSTOOL 

Fig.  254  illustrates  a  footstool  completed,  except 
the  upholstering.     The  length  of  the  side  rails  as 

»  well  as  the 
height  of  the 
legs  may  be 
changed  to  suit 
individual 
requirements. 
Figs.  248  to 
253  show  vari- 
ous s,tyles  of 
legs  which  may 
be  used  for 
Fig.  254.  Footstool  footstools. 


ELEMENTARY  TURNING 


161 


The  dimensions  of  this  stool  are:  Legs,  2J  inches 
square  by  12  inches  long;  side  rails,  }  inch  by  3J 
inches  by  12  inches  between  the  legs. 

The  ordinary  turning  stock,  If  inches  square, 
is  large  enough  for  most  footstool  legs.  The  length 
may  be  anything  from  8  to  16  inches.  Footstools 
should  not  be  higher  than  they  are  wide. 


NUMBER  XXIX 
TURNED  PIANO  STOOL 


The  usual  sizes 
for  such  a  stool  are : 
top,  14  inches  in 
diameter  by  If 
inches  thick;  legs, 
If  inches  in  diam- 
eter by  19  inches 
long,  to  the  under 
side  of  the  top. 
As  they  enter  the 
top  1  inch,  the 
stock  should  be  20 
inches  long.  The 
rungs  are  made 
from  f-inch  square 
stock  and  are  10 
inches  below  the 


Fig.  255.     Piano  Stool. 


11 


162 


ELEMENTARY  TURNING 


under  side  of  the  top.  The  distance  between  the  legs 
at  the  rungs  is  8  inches,  making  the  total  length  of  the 
rungs  10  inches.  The  holes  in  the  top  for  the  ends 
of  the  legs  are  bored  in  an  11-inch  circle  with  a  J-inch 
bit.  This  should  make  the  diagonal  distance  on  the 
floor  between  the  centers  of  the  legs  about  16  inches. 

First,  turn  a  pattern  for  a  leg  in  soft  wood  or  a 
cull  piece.  If  you  wish  to  make  a  very  fine  piece 
of  furniture,  polish  every  part  in  the  lathe. 

In  fitting  the  parts  together  be  very  careful  not 
to  injure  the  finish.  Blocks  of  soft  wood,  shaped 
to  fit  the  turning,  will  aid  much  in  holding  the  legs 
while  boring  the  holes  for  the  rungs.  Study  the 
design  carefully  and  see  if  you  can  improve  upon  it. 


Fig.  256.     Turned  Stool. 


NUMBER  XXX 

TURNED   STOOL 

The  top  of  this  stool  is 
14  inches  in  diameter  by 
If  inches  thick.  The  legs 
are  but  18  inches  long, 
which  includes  the  1-inch 
tenon  entering  the  top. 
The  crosspieces  are  10J 
inches  above  the  floor,  and 
the  legs  are  10J  inches 
apart  from  surface  to  sur- 
face at  this  point. 


ELEMENTARY  TURNING  163 

The  holes  in  the  top  are  bored  in  a  lOJ-mch  circle. 
Read  the  description  of  No.  255,  and  compare  it 
with  this  stool,  and  then  work  out  a  new  design. 

NUMBER  XXXI 
GROUP  OF  FANCY  TURNINGS 

These  designs  may  be  used  for  suggestions  or  in 
place  of  those  given  in  the  text. 


Fig.  257.     Group  of  Fancy  Turnings. 

NUMBER  XXXII 
TURNED  MOLDING 

Sometimes  it  is  necessary  to  make  circular 
pieces  of  molding  to  be  used  at  rounded  corners  or 
at  semi-circular  ends.  This  is  done  by  turning  a 


164 


ELEMENTARY  TURNING 


complete  circle,  and  then  cutting  from  it  such  seg- 
ments as  are  required. 


Fig.  269.    Blank  for 
Fig.  258      Turned  Molding.  Turned  Molding. 

Fig.  259  shows  a  piece  of  f-inch  board  secured  to 

. ,    a  face-plate.     No 

attempt  has  been 
made  to  make -the 
blank  a  true  circle 
before  placing  it 
in  the  lathe,  for 
the  rough  corners 
of  this  octagonal 
shaped  piece  of 
soft  wood  can  be 
cut  away  quite 
easily  in  the  lathe. 
As  the  diameter 
of  the  circle  is 


Fig.  260.     Molding  Segments. 


greater    than  the 


ELEMENTARY  TURNING  165 

diameter  of  the  iron  face-plate,  a  wooden  facing  is 
attached,  so  that  the  screws  will  enter  the  part  of 
the  wood  that  is  to  become  the  molding.  If  the 
screws  were  to  enter  the  waste  material,  you  could 
not  finish  the  inner  edge  of  the  molding. 

Adjust  the  rest,  and  turn  the  outer  edge  as  in 
working  the  rosette  (Lesson  30).  Turn  the  inside 
of  the  circle,  as  in  making  the  frame  (Fig.  235). 

After  the  molding  has  been  finished,  as  in  Fig. 
258,  it  may  be  cut  into  such  pieces  as  are  required. 

Fig.  260  shows  one  section  for  a  rounded  end,  one 
for  a  rounded  corner,  and  one  to  connect  parts  at 
an  angle  of  sixty  degrees. 


TOOLS    AND   FITTINGS 
PART  III 

INTRODUCTION 

This  part  describes  such  tools  and  materials  as 
are  required  for  the  work  in  this  course,  except  such 
tools  as  the  pupil  has  become  familiar  with  in  his 
use  of  the  author's  previous  publication,  entitled 
Elementary  Woodwork. 

Work  at  the  bench  in  every  case  should  precede 
the  study  of  turning.  There  are  many  points  about 
the  use  of  tools  which  must  be  understood  in  order 
to  do  turning  properly,  and  which  can  be  learned 
much  better  by  working  at  the  bench. 

The  number  of  tools  described  is  the  minimum 
rather  than  the  maximum  number  which  may  be 
used  in  wood  turning.  For  doing  the  work  on 
supplementary  and  fancy  pieces,  many  special  tools 
might  be  used.  The  use  of  these  tools,  however, 
requires  no  additional  instruction,  as  they  are  only 
modifications  in  form  of  those  described  and  used  in 
the  various  examples  which  have  been  given.  One 
who  has  executed  all  of  the  models  illustrated  in 
Parts  1  and  2  should  understand  how  to  proceed  in 
turning  any  but  the  most  difficult  work. 


168  ELEMENTARY  TURNING 

The  materials  for  finishing  are  properly  limited 
to  the  least  number  possible.  Those  who  desire  a 
larger  variety  of  finishes  should  consult  a  work 
devoted  entirely  to  finishing  and  polishing. 

ARBORS 

For  the  ordinary  work  of  a  wood-turning  lathe 
only  the  simple  wooden  arbor  is  required.  Such 
arbors  are  shown  in  use  in  Figs.  163,  172,  174,  and 
206.  They  should  be  made  of  bits  of  waste  material. 
Usually  they  are  of  hard  wood,  yet  for  such  uses  as 
holding  of  rings  for  re-polishing,  soft  wood  may  be 
used. 

Be  sure  to  force  the  arbor  on  to  both  centers  far 
enough  to  hold  it  from  slipping  on  the  live-center. 
The  marks  at  each  end  should  be  large  enough  to 
permit  the  arbor  to  be  removed  and  replaced  in 
exactly  the  same  position.  Do  not  forget  to  mark 
it  as  indicated  in  Figs.  9  and  10. 

In  fitting  the  arbor  to  the  work,  make  the  taper 
so  slight  that  there  will  be  a  firm  bearing  nearly  the 
whole  length  of  the  hole.  Avoid  jamming  the  ends 
in  forcing  the  work  either  on  or  off  of  the  arbor. 
Arbors  should  be  carefully  made,  and  kept  for 
future  use. 

CALIPERS 

Fig.  261  illustrates  one  form  of  outside  calipers, 
and  Figs.  58  and  132  show  how  the  outside  calipers 


ELEMENTARY  TURNING 


169 


are  held.     Fig.  262  illustrates  inside  calipers. 
263   shows   how 
the    inside   cali- 
pers are  held. 

There  are 
many  styles  of 
these  very  useful 
tools.  The  chief 
difference  is  that 
some  have  a 
device  for  fine 
adjustment,  and 

Others     do     MOt.    Fig.  262.     Inside 

Those   having 


Fig,.  261.    Outside 
Calipers. 


Calipers. 


a    screw   adjustment    are    better  for   the  beginner 
to  use. 


170 


ELEMENTARY  TURNING 


If  the  points  are  sharp,  they  may  catch  in  the 
wood,  and,  therefore,  they  should 
be  rounded,  as  shown  in  Fig.  264. 
If  the  ends  are  not  rounding,  do 
not  attempt  to  use  them  while  the 
Ends.  lathe  is  in  motion. 


Caliper 


CHISELS 

The  turner's  chisel,  called  the  turner's  skew 
chisel,  and  shown  in  Fig.  265,  is  used  on  nearly  every 
piece  of  work.  It  differs  from  the  common  firmer 


Fig.  265.     Skew  Chisel 

chisel  by  having  a  bevel  at  each  side,  and  the  cutting 
edge  at  an  angle.  Fig.  266  indicates  the  shape  of 
the  cutting  edge. 

Turning  chisels  are  much  heavier  than  the  common 
bench  chisels;  and  there  is 
no  bolster  at  the  end  of  the 
handle  to  prevent  it  being 
driven  too  far  on  to  the  chisel. 
Turning  chisels  are  usually 
made  in  sizes  from  \  inch  to 
2  inches,  but  for  ordinary 
light  work  a  }-inch,  a  J-inch, 
and  a  1-inch  chisel  are  suffi- 
cient, The  shape  and  angle 


Fig.  266.     Cutting  End  of 
Skew  Chisel. 


ELEMENTARY  TURNING  171 

of  the  cutting  edge  has  much  to  do  with  the  ease 
with  which  the  chisel  is  used. 

Great  care  should  be  taken  in  grinding  and 
whetting  these  tools.  Unless  the  grindstone  is 
quite  true,  it  is  useless  to  attempt  to  grind  such 
chisels,  except  by  holding  them  free-hand,  as  shown 
in  Fig.  267. 


Fig.  267.     Grinding  a  Skew  Chisel. 

To  hold  them  free-hand  is  not  difficult.  One 
hand  bears  them  against  the  stone,  and  the  other 
hand  holds  the  blade  at  the  proper  angle. 

This  is  done  by  a  combination  of  two  move- 
ments. The  hand  may  be  raised  or  lowered,  or  it 
may  revolve  the  chisel  handle. 

By  watching  the  flow  of  water  past  the  tool,  and 
by  frequently  removing  it  to  see  where  the  stone  is 


172  ELEMENTARY  TURNING 

cutting,  you  may  soon  learn  how  to  grind  a  skew 
chisel  properly. 

Do  not  be  satisfied  until  the  cutting  edge  is 
straight "  from  the  acute  to  the  obtuse  angle,  and 
both  angles  of  a  correct  size.  The  two  bevelled 
surfaces  should  also  be  perfect.  If  there  is  any 
roundness  near  the  edge,  it  will  hinder  the  chisel 
from  resting  properly  on  the  work,  and  render  it 
much  more  liable  to  catch  and  injure  the  piece. 

In  whetting  the  skew  chisel,  keep  the  surface  as 
near  true  as  possible.  Do  not  form  another  angle 
with  the  oilstone,  as  in  whetting  the  carpenter's 
chisel.  The  skew  chisel  is  for  cutting,  and  should 
not  be  used  as  a  scraping  tool.  This,  however,  is 
done  sometimes  because  no  other  chisel  is  at  hand. 
Chisels  for  scraping  are  called  scraping  tools,  and 
are  described  under  that  head. 

CHUCKS 

There  is  scarcely  any  limit  to  the  number  of 
styles  and  sizes  of  chucks  which  can  be  used  for 
wood  turning.  For  elementary  work  only  a  few 
are  required. 

The  screw  chuck,  as  shown  in  Fig.  268,  is  the  one 
most  often  used.  The  spur  chuck  (Fig.  275)  is  very 
handy  for  some  work.  Other  styles,  except  the 
wooden  cup  chucks  which  are  often  used  as  shown 
in  Figs.  165,  168,  169,  and  227,  may  be  dispensed 


ELEMENTARY  TURNING  173 

with  for  all  ordinary  work.  The  cup  chucks  are 
very  simple  appliances,  being  merely  blocks  of 
wood,  secured  to  a  face-plate,  and  hollowed  out  to 
receive  the  work. 

SCREW  CHUCK 

There  are  many  kinds  of  screw  chucks.  The 
beginner  can  easily  do  all  his  work  with  the  common 
style,  such  as  is  shown  in  Fig.  268.  This  chuck  is 
made  by  attaching  a  piece  of  wood  to  the  ordinary 
face-plate  and  securing  a  common  wood  screw  at 
the  center,  as 
shown  in  Fig. 
274.  Hard  wood 
is  better  for  the 
facing. 

It  should  be 
securely  fast- 
ened with  at 
least  four  screws 

to  the  iron  face-  Fig.  268,  Screw  Chuck. 
plate,  and  turned  smooth  at  the  circumference,  so 
that  the  hands  will  not  be  liable  to  be  injured  by  it. 
Do  not  use  any  sandpaper  on  it.  Figs.  269  and  270 
show  how  the  gouge  is  held  in  turning  the  edge. 
Figs.  125  and  126  show  the  gouge  in  use  for  similar 
work.  The  character  of  the  piece  will  usually  deter- 
mine whether  the  gouge  should  first  cut  from  the 
right  or  from  the  left. 


174 


ELEMENTARY  TURNING 


Turn  the  face  of  the  piece  exactly  true,  testing  it 

with  a  straight 
edge.  The 
roughing  gouge 
should  be  used 
at  first,  and  held 
as  shown  in  Fig. 
271. 

The  final 
smoothing 
should  be  done 
with  a  scraping 
chisel,  as  shown 
in  Fig.  127.  If 
no  scraping 
chisel  is  at  hand, 
a  skew  chisel 

Fig.  269.     Turning  an  Edge  with  Gouge.  may  be  used  for 

the  scraping.     Unless  the  face  is  exactly  straight, 
the     blocks    when    screwed    ^ 
against  it   may  not   remain 
in  place. 

Find  the  center,  as  shown 
in  Fig.  272.  By  placing  the 
point  of  the  skew  chisel  near 
the  center,  a  small  circle  will 
be  made;  and  by  gradually 
moving  the  point  towards  the 
center  of  the  circle,  a  place 


F{g  > 


/.     Turning  an  Edge 
Gouge. 


ELEMENTARY  TURNING 


175 


will  be  found  where  no  circle  is  made.     This  will  be 
the  center,  and  the  point  of  the  chisel  should  make  a 

small    hole    in    which    to  r  ___ __r 

place  the  spur  of  the  bit. 
Bore  a  hole  just  large 
enough  to  fit  the  shank  of 
the  screw.  Use  the  method 
shown  in  Fig.  273.  Place 
the  bit,  and  then  carefully 
start  the  lathe.  Mark  the 
piece  so  that  you  can  put 
it  back  in  the  same  place, 
and  then  remove  it  from 
the  iron  face-plate. 

Countersink   a   place 


Fig.  271.     Turning  the  Face 

with  Roughing  Gouge. 


just  deep  enough  to  bring  the  surface  of  the  screw 

head  flush  with  the  wood. 

Drive  a  finishing  nail  into  the  wood  at  the  end  of 

the  slot  in  the  screw 
head  and  bend  it  over, 
as  shown  in  Fig.  274. 
If  the  nail  is  too  large 
to  go  into  the  slot, 
hammer  it  flat  near  the 
center  before  attempt- 
ing to  drive  it. 

Return  the  wood  to 
its   place   on   the  iron 

Fig.  272.     Finding  the  Center.  plate,    and    you    have 


176 


ELEMENTARY  TURNING 


the  best  kind  of  a  screw  chuck  for  general  work.  Be 
careful  to  turn  each  screw  until  it  is  just  tight;  for, 
as  they  may  be  several  times  removed  and  again 


Fig.  273.     Boring  with  Bit. 


Fig.  274.  Back  Side  of  Wooden  Facing. 


inserted,  any  over- 
straining will  spoil 
the  holes  in  the  wood. 
If  you  are  careful 
to  put  grease  in  the 
holes  each  time  the 
screws  are  to  be  in- 
serted, the  wood  will 
not  wear  out  so 
quickly,  and  the 
s  crews  will  hold 
stronger. 


ELEMENTARY  TURNING 


177 


SPUR  CHUCK 

Pieces  of  some  shapes  that  cannot  be  screwed  on 
to  the  screw  chuck  can  be  held  on  a  spur  chuck 
(Fig.  275).  This  chuck  is  simply  a  wooden  facing, 
having  two  or  more  short  spurs  in  its  face  side  and 
secured  to  an  iron  face-plate.  The  piece  to  be 
worked  is  forced  on  to  these  spurs,  and  held  against 
them  by  the  tail-stock,  as  shown  in  Fig.  224.  While 
in  this  position,  the 
edge  and  nearly  all  of 
one  side  can  be -fin- 
ished. The  spurs  do 
not  usually  project 
more  than  |  inch,  and 
-iV  inch  is  sometimes 
sufficient.  They  may 
be  of  any  desired 
number,  and  should 
be  firmly  driven  into  Fig.  275.  Spur  Chuck. 
the  facing,  so  that  they  will  not  be  pressed  deeper 
into  the  facing,  when  pieces  to  be  turned  are  forced 
against  them. 

The  spurs  may  be  made  of  wire  nails  by  driving 
the  nails  into  the  facing  from  the  face  side,  and  then 
cutting  them  off  and  filing  them  sharp.  For  heavy 
work  the  nails  may  be  driven  in  from  the  back  side, 
and  their  heads  left  to  rest  against  the  iron  face- 
plate, so  that  forcing  pieces  on  to  their  sharpened 
ends  will  not  move  them. 
12 


178  ELEMENTARY  TURNING 

COMPASSES 

The  plain  compasses,  shown  in  Fig.  276,  are 
sufficient  for  much  of  the  spacing  work  in  turning. 

At  times  the  wing  compasses,  used  by  joiners, 
are  better.  If  one  set  is  to  be  used  for  both  joinery 


Fig.  276.     Plain  Compasses. 

and  turning,  those  having  the  fine  adjustment  should 
be  procured. 

The  use  of  the  compasses  in  marking  off  spaces 
is  shown  in  Fig.  81. 

DEAD-CENTER 

The  dead-center  should  be  of  hardened  steel 
and  shaped  as  shown  in  Fig.  277. 

The  central  point  should  be  removable  so  that 
it  may  readily  be  replaced  if  broken.  The  rim  and 


Fig.  277.     Dead-center. 

cup  surface  should  be  very  smooth  and  bright.  It 
should  be  forced  to  place  at  the  same  time  the  bfank 
is  forced  on  to  the  live-center,  and  therefore,  no 
hammer  or  mallet  should  be  used  in  placing  the 
work  in  the  lathe. 


ELEMENTARY  TURNING 


179 


FACE-PLATES 

Face-plates  are  usually  of  the  form  shown  in 
Fig.  278.  See  also  Fig.  269.  These  screw  on  to  the 
outside  of  the  end  of  the  lathe 
spindle. 

Fig.  279  illustrates  a  style 
which  is  fastened  to  a  plug, 
which  is  tapered  to  fit  the 
hole  in  the  end  of  the  live 
spindle.  For  small  work  the 


Fig.  278.     Face-plate. 

latter  style  is  better,  be- 
cause it  allows  the  screws 
Fig.  2^9.    Small  Face-plate.        to     be    arranged    on    a 

smaller  circle.  Such  an  arrangement  is  not  so 
strong  as  the  first  form,  but  it  is  quite  essential  for 
some  work. 

GAUGES 

For  determining  -the  horizontal  distances  on 
work  in  the  lathe,  many  forms  of  gauges  and  templets 
are  used.  For  most 
work,  when  but  a 
few  pieces  of  a  kind 
are  to  be  turned,  a 
rule  and  a  pencil  Fig.  280.  Gauge. 


180  ELEMENTARY  TURNING 

(Fig.  19)  or  a  rule  and  a  chisel  point  (Fig.  31)  are 
sufficient. 

One  of  the  most  common  forms  of  gauges  for 
use  in  turning  is  shown  in  Fig.  280  and  in  use  in 
Fig.  36. 

These  gauges  m-ay  be  made  of  various  styles, 
either  from  the  drawings  or  from  the  model  piece. 

The  edge  of  the  stick  or  bar  may  correspond 


Fig.  281.    Chair  Leg  Gauge. 

with  the  general  outline  of  the  pattern,  as  shown 
in  Fig.  281. 

After  the  bar  has  been  shaped,  drive  brads  or 
nails  into  the  edge.  Be  careful  to  place  each  one 
exactly  opposite  the  point  which  is  to  be  lined. 
Cut  off  the  heads  and  adjust  each  one  to  length. 

By  making  the  spurs  of  the  correct  length  they 
may  help  to  indicate  the  size,  as  their  points  may 
be  made  to  cut  each  time  to  the  same  depth.  File 
the  spurs  to  a  wedge-shaped  point,  being  careful 
that  the  point  is  in  exactly  the  correct  place.  The 
points  may  be  sprung  with  a  hammer,  but  are  liable 
to  gradually  spring  back.  See  that  they  are  driven 
well  into  the  wood,  for  the  revolving  of  the  work 
against  them  tends  to  move  them. 


ELEMENTARY  TURNING  181 

Unless  there  are  many  pieces  of  a  kind  to  be 
turned,  it  is  better  to  use  the  pencil  and  rule,  or 
compasses  rather  than  to  take  the  time  to  make 
a  gauge  of  this  kind. 

Often  a  wooden  tee  rest  is  used  and  the  pattern 
marked  on  its  edge  so  that  no  other  measuring  is 
required. 

GOUGES 

Fig.  282  illustrates  an  ordinary  turning  gouge. 
The  curve  at  the  cutting  edge  varies  greatly  for  use 
in  different  kinds  of  work.  The  end  is  shown  from 
different  angles  in  Figs.  44,  47,  126,  and  232. 


Fig.  282.     Turning  Gouge. 

Figs.  40  to  44,  53,  92,  111,  114,  116,  120,  125,  126, 
170  show  the  turning  gouge  in  use. 

Turning  gouges  may  be  ground  square  across 
and  used  for  roughing,  but  usually  a  firmer  gouge 
(Fig.  283)  is  used  for  this  purpose.  For  ordinary 


Fig.  283.    Firmer  Gouge. 

work  the  firmer  gouge  is  strong  enough;  and  because 

the  metal  is  thinner,  it  is  much  easier  to  keep  it  in 

order. 


182  ELEMENTARY  TURNING 

The  roughing  gouge  is  shown  in  use  in  Figs.  13, 
20,  78,  100,  113,  238,  and  271.  The  grinding  of 
gouges  is  not  an  easy  task.  Their  cutting  edges 
should  be  free  from  all  roughness,  and  their  curves 
regular  throughout. 

In  order  to  produce  such  an  even  edge  the  gouge 
should  be  held  on  the  grindstone  as  shown  in  Fig. 


Grinding  a  Gouge. 


284.  The  angle  of  the  basil  side  is  determined  by 
the  position  of  the  right  hand.  By  rolling  the  hand, 
the  grindstone  is  made  to  cut  at  any  part  of  the 
curve.  Do  not  attempt  to  grind  the  tool  to  an  edge 
at  one  point,  and  then  roll  it  a  little  in  order  to 
grind  at  another  place,  but  rather  keep  the  gouge 
rolling  from  one  edge  to  the  other  edge. 


ELEMENTARY  TURNING 


183 


In  grinding  the  turning  gouges,  the  handles  will 
need  to  be  lowered  and  raised  as  well  as  rolled.  If 
there  are  any  thick  places  that  require  more  grinding 
than  others,  do  not  stop  the  gouge  at  these  places, 

but  rather  do  not  roll  it  so 
rapidly.  This  carefully 
done,  will  result  in  a  very 
even  curve. 


Fig.  285.     Whetting  a  Gouge. 

The  rapid  passing  of 
the  shavings  over  the 
cutting  edge  wears  it 
quite  rapidly,  and  there- 
fore the  inside  as  well 
as  the  basil  side  of  the 

gOUge     is     worn.        This       Fig.  286.     Using  a  Slip  Stone. 

makes  necessary  the  grinding  back  of  the  edge  a 
little  in  order  to  make  the  inside  edge  straight. 

After  the  gouges  have  been  ground,  their  edges 
should  be  smoothed  by  rubbing  an  oilstone  on  them, 
as  shown  in  Fig.  285. 


184  ELEMENTARY  TURNING 

The  stone  may  be  held  on  the  bench  and  the 
gouge  rubbed  on  the  stone.  Whichever  method  is 
employed,  the  movement  must  be  such  that  the 
stone  moves  along  the  edge  at  every  stroke,  so  that 
the  edge  is  sharpened  evenly. 

To  remove  the  wire  edge,  a  hard  Arkansas  slip 
stone  is  used,  as  shown  in  Fig.  286.  This  stone  should 
be  rubbed  towards  the  edge  at  the  same  time  it  is 
given  a  side  movement,  causing  it  to  come  in  con- 
tact with  the  entire  cutting  edge.  This  stone  may 
be  used  on  the  basil  side  as  well  as  the  straight  side. 
This  stone  should  produce  so  fine  an  edge  that  no 
leather  strop  will  be  required.  Remember  that  in 
whetting  turning  tools,  the  changing  of  the  angle 
soon  necessitates  regrinding.  By  being  careful 
about  the  whetting,  you  can  save  much  time  in  the 
grinding. 

LATHES 

Fig.  287  illustrates  a  modern  all-metal  lathe  for 
wood  turning.  Such  lathes  may  be  adapted  to  the 
working  of  brass  and  soft  metals. 

In  elementary  turning,  all  you  have  to  deal  with 
is  the  adjustment  of  the  tee  rest  and  the  tail-stock; 
the  changing  of  the  belt  to  a  suitable  speed,  and  the 
exchanging  of  the  live-center  for  face-plate,  or 
vice  versa. 

Your  lathe  may  not  be  exactly  like  the  one  shown 
in  the  picture,  yet  all  woodworking  lathes  for  hand 
turning  are  similar.  The  one  shown  in  Fig.  288  is 


ELEMENTARY  TURNING 


185 


quite  equal  to  an  all-metal  lathe  for  many  kinds  of 
work.  By  comparing  the  two  you  will  notice  that 
the  cones  are  not  placed  alike,  and  also  that  the  oil 
holes  are  not  in  the  same  position.  Fig.  288  shows 
the  parts  of  the  .lathe  except  the  wooden  bed  or 


Fig,  287.     Iron  Bed  Turning  Lathe. 


A  Set  Screw.  B  Tee  Rest  Stand.  C  Cone  Pulley.  D  Dead-center. 
E  Clamp  Handles.  F  Face-plate.  H  Clamp  Screw.  I  Crank  Handles. 
L  Live-center.  O  Oil  Holes.  S  Shoe.  T  Tee  Rest. 

shears.  The  long  bolts  are  for  securing  the  head- 
stock, ^tail-stock,  and  rests  to  the  bed.  Two  tee-rest 
stands  are  shown.  There  is  also  a  double  tee  rest 
for  long  work.  In  elementary  turning  there  is  so 


186 


ELEMENTARY  TURNING 


seldom  need  for  a  long  rest  that  usually  none  is 
provided  and  instead,  two  short  ones  are  set  side  by 
side  as  shown  in  Figs.  239  and  243.  The  lathe  shown 
in  Fig.  287  has  an  oil  cavity  under  the  bearing,  so 
arranged  that  the  oil  is  fed  up  to  the  bearing  as 
required,  and  hence  a  quantity  of  oil  is  put  into  the 
reservoir  once  in  a  long  time. 


Fig.  288.     Wooden  Bed  Turning  Lathe. 

Most  lathes  are  oiled  as  shown  in  Fig.  288,  and 
require  oiling  once  or  twice  for  every  ten  hours  of 
running.  Watch  your  lathe  bearings  by  touching 
them  with  your  fingers,  and  if  they  are  hot,  report 
it  to  the  instructor.  Sometimes  all  that  is  required 
to  cool  them  is  a  few  drops  of  oil,  but  at  other  times 
it  is  necessary  to  adjust  the  boxes.  You  should  not 
attempt  to  make  any  adjustments  of  the  bearings 
unless  you  are  sure  that  you  will  do  no  harm. 


ELEMENTARY  TURNING  187 

OILSTONES 

The  oilstones  used  for  sharpening  lathe  tools  do 
not  differ  from  those  used  in  sharpening  joiners' 
tools.  Both  should  cut  freely  and  smoothly.  If 
the  tools  are  rubbed  on  a  strop  after  whetting,  the 
edge  will  be  made  smooth,  and  it  will  cut  better. 

Gouges  are  not  easily  rubbed  on  a  strop,  and, 
therefore,  a  very  hard 
stone  is  used  to  remove 
the  wire  edge,  and  give 
the  smoothness  re-  Fig.  289.  Oilstone  Slip. 
quired  for  fine  work.  Such  stones  are  usually  shaped 
as  shown  in  Fig.  289,  and  are  called  oilstone  slips. 
They  vary  greatly  in  size.  For  sharpening  ordinary 
turning  tools,  use  a  slip  about  3  inches  long  by  1J 
inches  wide. 

The  grade  known  as  hard  Arkansas  is  excellent 
for  school  use.  These  stones  are  very  brittle,  and 
should  be  used  with  care.  Use  oil  on  them  the 
same  as  on  the  India  oilstone,  used  in  the  wood  shop. 

PARTING   TOOLS 


Fig.  290.    Parting  Tool. 

The  parting  tool,  shown  in  Fig.  290  and  in  use  in 
Figs.  106,  110,  and  122,  is  for  cutting  deep  recesses 
or  for  cutting  pieces  in  two.  Its  work  is  always 


188  ELEMENTARY  TURNING 

rough,  consequently  its  use  is  limited.  It  cuts 
rapidly,  but  always  roughly,  and  therefore  saves  no 
time,  except  when  the  surface  being  cut  is  not 
required  to  be  smooth. 

It  should  be  held  with  the  point  or  cutting  edge 
directed  towards  the  line  of  the  lathe  centers. 
Usually  it  should  be  made  to  cut  a  space  wider  than 
itself  by  being  moved  a  little  from  side  to  side. 

SCRAPING   TOOLS 

Fig.  291  shows  an  ordinary  right-hand  scraping 
tool  which  was  made  from  a  worn-out  turning  chisel. 


Fig.  291.     Scraping  Tool. 

Fig.  292  shows  the  shapes  of  the  ends  of  the 
ordinary  scraping  tools.  They  may  be  of  any  shape 
required  to  fit  the  work.  They  may  also  be  crooked 

or  bent  to  reach  into  obscure 
interior  curves.  They  should 
never  be  used  when  a  cutting 
tool  can  be  used.  They  are 
for  finishing,  and  not  for 
removing  large  amounts  of 
Fig.  292.  Scraping  Tool  Ends,  material. 

Scraping  tools  are  usually  held  level  with  the 
lathe  centers,  as  shown  in  Figs.  127,  128,  198,  211, 
and  207.  They  are  sharpened  much  the  same  as 


ELEMENTARY  TURNING 


189 


ordinary  firmer  chisels.  It  is  not  necessary  that  the 
cutting  angle  be  as  small  as  the  angle  on  firmer 
chisels.  For  making  the  finishing  cuts  they  must  be 
very  sharp. 

Scraping  tools  are  properly  pattern-makers' 
tools,  and  should  be  seldom  used  in  cabinet  turning. 
Scraping  tools,  including  ring  tools  and  similar 
special  tools,  are  usually  made  from  worn  firmer 
chisels,  or  short  turning  tools. 


RING  TOOLS 


The  ring 
tools  shown  in 
use  in  Fig.  198 
are  special 
forms  of  scrap- 
ing tools.  The 
hook-like  ends 


Fig.  294.    Left-hand  Ring  Tool. 


may  be  formed  by  grinding 
firmer  chisels,  as  shown 
in  Figs.  293  and  294.  Fig. 
295  shows  the  position  of 
the  tools  while  in  use.  A 
is  a  section  of  a  part  of  the 
arbor,  and  R  is  a  section 
of  the  ring,  and  T  the  ends 
of  the  tools.  As  these  are 
light  tools,  they  should  be 


Fiq.295.  Section  Showing  Cutting  .  „   „ 

Position  of  Ring  Tools.  used  carefully. 


190  ELEMENTARY  TURNING 

SIZING  TOOLS 

The  turner's  sizing  tool  shown  in  Fig.  296  is 
used  for  sizing  tenons  in  the  lathe.  It  is  held  as 
shown  in  Fig.  245.  The  place  to  be  sized  should 
be  of  nearly  the  desired  dimension  before  applying 
the  tool.  This  is  not  an  easy  tool  to  use  and  must 


Fig.  296.     Sizing  Tool. 

be  held  very  firmly  or  it  will  cut  too  rapidly  or  catch 
and  injure  the  work. 

The  adjustment  is  made  by  loosening  the  thumb- 
screw and  moving  the  hooked-shaped  piece  until  the 
opening  at  the  cutting  point  is  of  the  correct  size. 
After  adjusting,  it  should  be  tested  on  a  piece  of 
waste  material  for  it  often  cuts  smaller  than  is 
expected. 

SPUR  CENTER 

The  spur  center  is  a  very  important  part  of  the 
lathe.  It  should  be  shaped  so  it  will  enter  the  wood 

easily  and  hold  securely.    The 
one  shown   in   Fig.  297  is  a 
Fig.  297.    Spur  Center.  good    design. 

The  center  point  should  be  a  separate  piece  and 
should  be  easily  removed  for  sharpening  or  replacing. 


ELEMENTARY  TURNING 


191 


The  point  should  be  of  steel,  but  not  necessarily 
tempered. 

In  placing  the  spur  center  in  position  in  the 
arbor,  do  not  drive  it  with  a  hammer  or  a  mallet, 
for  the  pressure  against  it  in  placing  the  wood  be- 
tween the  centers  will  be  sufficient  to  force  it  tight 
enough  to  not  slip  while  in  use. 

The  spur  center  should  be  removed  by  driving 
a  key,  made  for  this  purpose,  into  a  hole  in  the  side 
of  the  arbor  and  against  the  end  of  the  center. 
Some  centers  have  a  square  part  and  are  removed 
by  using  a  wrench. 

Some  lathes  are  supplied  with  several  spur 
centers,  but  for  all  ordinary  turning,  one  is  sufficient. 


TEMPLETS 

Templets  are  thin  pieces  of  wood  or  metal,  so 
formed    as    to    determine    the    outline    of    another 


Fig.  298.     Templet. 

piece.  The  one  shown  in  Fig.  298  and  in  use  in 
Fig.  222  represents  the  most  common  class.  They 
may  be  of  almost  any  size  or  shape  for  work  within 
the  capacity  of  the  lathe. 


192  ELEMENTARY  TURNING 

Fig.  298  shows  a  method  of  laying  out  a  templet. 

First,  draw  line  C C,  representing  the  axis  of 

the  piece,  from  this  lay  out  the  shape  required. 

After  the  outline  has  been  determined,  you  must 
decide  upon  the  size  of  the  stub  to  be  left  at  each 
end  and  cut  off  from  each  end  of  the  templet  an 
amount  equal  to  one-half  the  diameters  of  the  stubs. 
This  is  shown  by  the  dotted  lines  at  A  and  B.  The 
large  stub,  A,  is  at  the  live-center. 

Be  careful  in  drawing  the  lines,  arid  work  the 
templet  carefully  to  shape,  as  you  are  not  likely 
to  succeed  in  fitting  the  piece  to  it  exactly.  If  the 
templet  is  not  quite  correct,  your  piece  may  be  very 
much  out  of  shape. 

In  using  templets,  do  not  hold  them  against  the 
work  while  it  is  in  motion;  for  if  you  do,  they  will 
very  soon  become  incorrect. 


INDEX 


Arbor  ------  119-123-124-135-138 

Back  Screw  127 

Base  for  a  Candlestick  -                                                                    134- 

Base  for  a  Hat  Rest  -  139 

Beaded  Spindle  69 

Bead  and  Cove  58-61 

Beads,  Turning  46-60-63-70-80-85-98-130 

Blank  on  Face-plate  139-148-164-174 

Blank  on  Screw  Chuck  -                                          87-94-101-121-164 

Boring  with  Bit  1 1 1-176 

Boring  with  Gouge  87-95-123-131 

Box  86-92-132-142 

Calipers  •    63-107-169 

Candlestick  133-136 

Carpenter's  Mallet  113 

Carver's  Mallet  115 

Centering  Material  -  19-20-146-148-164-175 

Chair  Leg  153-155 

Chair  Hung  -  156 

Chair  Spindle    -  157 
Chisel  (See  Skew  Chisel) 

Chuck      -  120-122-146-147-172 

Clamp  Screw  22-185 
Cleaning  Lathe           ________       IQ 

Combining  Woods  141 

Compasses  79-178 

Cover  -  90-93-129-133 

Coves       -  51-53-55 

Cup  Chuck    -  120-122-147-173 

Curved  Spindle          -  -        -        -        -        -        -        -81 


194  ELEMENTARY  TURNING 

Curves,  Turning  -         36-42-46-60 

Cutting  in  for  Square  Ends  76 

Cutting  Threads  128 

Cutting  with  Point  of  Skew  Chisel  44-51-76-89-91-120 

Cylinder  -  25 

Darning  Ball  117 

Darning  Hemisphere  118 

Dead-center  21-146-178 
Designs 

Box  -  86-92-129-132-142-163 

Candlestick  134-136-163 

Chair  Leg        -        -  -        -         -                               153-155 

Footstool  Leg  158 

Frame  -  -  147-152-163 

Gavel  109-112 

Goblet    -  94-97-143-163 

Hat  Rest  -  137 

Mallet    -  -  112-114-115 

Napkin  Ring  121-124 

Equipment    -  14 

Examining  Work       __  —        ___        —        -25 

Face-plate  179 

Finding  the  Center    -        -  —        -        —        -        -        -     175 

Footstool  160 

Footstool  Leg  -  -       157-159 

Frame  -  -  147-148-152 

Gauge  Stick      -  49-179 

Gavel  -  109-112 

Glove  Mender  -  -     118 
Goblet-        -------        93-97-142-143 

Gouge      -  51  to  60-83-87-99-102-123-131-149-174-181 

Gouge,  Grinding  and  Whetting        -        -        -        -        -        182 

Grinding-  -        -      171-182 


ELEMENTARY  TURNING  195 

Group  of  Fancy  Turnings  163 

Half-inch  Bead  47 

Half-inch  Cove  57 

Half -inch  Bead  and  Cove  -  -      61 

Half-inch  Left-hand  Semi-bead  41 

Half-inch  Right-hand  Semi-bead  44 

Handle  -     106-108-112-125 

Hand-screw  Screws  -  127 

Hat  Rest  137 

Illustrations,  Remarks  on  -  16 

Inside  Calipers  169 

Introduction  to  Part  I  -       1 1 

Introduction  to  Part  II  -  104 

Introduction  to  Part  III  167 

Jointing  Surfaces  for  Gluing  -                                                           138 

Knife  and  Fork  Rest  -        -     144 

Knob,  Turning       -        -  93-126 

Large  Box  -        -     129 

Lathe  -  185 

Leather  Topped  Handle  108 

Left-hand  Semi-bead  35 

Mallet  112-114-115 

Marking  for  Replacing    -  24 

Marking  Spaces  32-44-76 

Molder's  Rammer  -  116 

Molding  Segments  -     164 

Napkin  Ring  121-124 

Oiling  -  15-21-186 

Oilstone  187 

One-inch  Bead  -       46 
One-inch  Cove            --------50 


196  ELEMENTARY  TURNING 

One-inch  Bead  and  Cove    -  -                            -        -        -      58 

Outside  Calipers  63-107-169 

Parting  Tool  -     187 

Personal  Equipment  14 

Piano  Stool  -     161 

Pin  Tray  145 

Placing  Shellac  on  Cloth  72 

Placing  Work  in  the  Lathe  19-21 

Polishing  7 1-96-1 10-123 

Polishing  Outfit  74 

Porch  Spindle  -  84 

Pumice  Stone  69 

Rebate  88-91 

Regulations  ----.---  15 

Rest  Inside  of  Bowl  -  95 

Right-hand  Semi-bead    -  37 

Ring  98-119-135 

Ring  Tools    -  135-189 

Rolling  the  Gouge  33-78-83 

Rosette  101 

Roughing  Gouge        -        -  -        -        —        -        -        —     181 

Roughing  Gouge,  Use  of-  26  to  33-78-154-175 

Rounding  a  Blank  -     27-78-87-94-101-146-154-174 

Rounding  Corners  -  77 

Round  Frame  148 

Rungs  -  156 

Sandpapering  -  65-95-151 

Scraping  Tools  102-103-140-188 

Screw  Box  -     128 

Screw  Chuck  101-121-173 

Shellacing  (See  also  Polishing)  -                                                    67-71 

Shoulder  Screw  127 

Sizer  157-190 
Skew  Chisel  -        -  30  to  50-60-89-120-123-127-130-138-170-175 


ELEMENTARY  TURNING                   197 

Slip  Stone  -     183 

Socket  Chisel  Handle  108 

Spacing   -        -  32-44-49-79-85 

Speed  of  Lathe  24 

Spindles  -        -  -     157 

Spindle  with  Cones  62 

Spur  Center  -     190 

Spur  Chuck  -  146-177 

Square  Frame  -  147-152-163 

Square-end  Spindle  75 

Stepped  Cylinder  32 

Stock  for  Turning  -  14 

Stool  (See  also  Footstool)  -  -     162 

Stopping  the  Lathe  25 

Tail  Screw         -  21-185 

Tapered  Spindle     -  82 

Tee  Rest  -  -        22-185 

Templet  144-191 

Testing  the  Surface  -      25 

Threading  a  Wooden  Screw     -  128 

Three-eighths-inch  Bead    -  -      49 

Three-eighths-inch  Cove  -        -        —      58 

Three-fourths-inch  Cove        -  55 

Tightening  the  Tail  Screw       -  21 

Tool  Handles    -  105-108 

Tray    -  145 

Turned  Moulding  -        -        -     163 
Turned  Piano  Stool         -------         161 

Turned  Stool    ---------162 

Turning  Gouge  51  to  56-60-83-87-93-95-97-99-102-123-131-149- 

174-181 

Vise  Handle      -        -  -     125 

Whetting  a  Gouge  ------- 

Wooden  Screw           __-  -        -        -        -        -     127 


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